W•**•‘^t/V r *^VV 4 - -T-r-'-->» • I. i-ji, 1 


i.n-*i? m yrV**r’ uK *- M - J *‘ tl -' 



»»i?ib+ **W*.m* #v ■> *•»*■* m**^-*^ -rz 

■knv>vA jSwJw#*^/▼ fcvW*v*^^''**-*** t * ., V 


. r--. --I.. ...■■A>.i.u( ^ j^ 


ft£* » J5 *«<. 


afflSSSp^ 


**•-ri’T r*.- pr » r ~ nr-i 

t hrl ,s*M A -* rt ♦W 

f+vto*+*i* V 1 \r 


■uiuptM 1 riwvv*?' *‘ \> JT'T 

r>/V* <rf-W*W*A ♦*>• 

fii 

-J* ^-►vvU-”v>wi>’ 

■r*-.* HrW \ «^p’ 

.vKWlAyf^H^^'*'- 

U^vHav 4 v<m *>fV^V^^r' Tt 
--■- ** -* 

*/**»»***» vfVH'v* 

»v.S'V* v '-'''H vM '' 



^:r'e'.:; 2 ^V*~-'r-.n 


, -.-••■-r , r-a;-'.-• ..- •’■••• rrj, ..,, 


'■■■.■ 

. * < 


.xn 


*t > j/V *1 t-% l'y‘ 

,y*»'/ 6 i •»*"»>*" v 

'JW33ST” 

^#Vf!«fy*v* y>%»< 
^y *^4 *<>- V 

5 *v***\H.*.*vr#v 


r» - '-"♦•»* 

C,i^».*Y^r|t»^^* Wfv 


iJERRMwW** ?****•#* .-i#f •-■•>♦ k f^‘ ^ * 

»v-i>t*-#^ ¥rv»»rvrv K *Jv _ >^V> l *fHn . rfy* 9 ** ,l Y ■*‘t M i N 
»*i>; ^ W"-‘-*•*-*»•»♦• i w %<rA n,^. 1 *N*fV' V-^*‘*M 



^ _ w T '*fn{.4tr 

.V^W 1 


nv5««^Mc saitc: ;r,t;~< (SR 

*^v»* * i *AM-V*y V‘V>|^'-' '■***'t 

f , »> V 1 T*'V 

[ULiK^L^Ji HP*** *h-<^ *r;» 

r*S'VV^ * 




rk^WfSfWST^f.P r ’ v 


dsHSgfe^ 

^ttwr»^r ; r 3 C 


Hmw^AH (I 




*VfVWW V> ■■ J 

»v» liUtf V H *fi w 

htHbv *■** vW rf'-f 1 









































































































































































T 0 


c 9 py z 


COPYRIGHT DEPOSIT. 


p 












♦ 











THE JAMES F. BALLARD 
COLLECTION 
OF ORIENTAL RUGS 






THE METROPOLITAN MUSEUM OF ART TN. < - 

1 




<-0"Y 


THE JAMES F. BALLARD 

COLLECTION 

OF 

ORIENTAL RUGS 


BY 

JOSEPH BRECK 

AND 

FRANCES MORRIS 




NEW YORK 
M C M X X I I I 

■ 

<1 A 




I 


;H4 

Tt^ 


Copyright by 

The Metropolitan Museum of Art 
October, 1923 


> ( » 



©C1A7C0536 C 


OCT 29 ’23 



'AO ~y 



PREFACE 

I N May, 1922, The Metropolitan Museum of Art received from 
James F. Ballard of St. Louis, Mo., a munificent gift of 125 
ancient oriental carpets, comprising the choicest examples in 
the large collection which, in the course of nearly twenty years of 
traveling and of diligent study, Mr. Ballard had assembled in his pri¬ 
vate gallery at St. Louis. Subsequent gifts increased the number of 
rugs in this princely benefaction to 129. 

The collection is now exhibited in the Museum for the first time 
in its entirety. Through the kindness of Mr. Ballard, sixty-nine of 
the carpets had been shown here in a special loan exhibition, from 
October 8 to December 31, 1921; but at the time of the gift, pre¬ 
vious arrangements had been made for exhibiting this group of rugs 
in the museums of Minneapolis, Chicago, and San Francisco, so 
that it was necessary to postpone our exhibition until the circuit 
was completed. The rugs were assembled in New York last sum¬ 
mer, and the whole collection is now on view in the Gallery of 
Special Exhibitions, D 6, where it will remain from October 1 until 
December 31. At the close of the exhibition, owing to the lack of 
available space in the galleries assigned to the Department of Dec¬ 
orative Arts, it will be necessary, for the present, to retire part of 
the collection; the rugs not on exhibition will, of course, be avail¬ 
able to students. 

With the Ballard carpets added to those previously owned by 


v 











































































PREFACE 


the Museum or displayed as indefinite loans (the latter including 
the notable Joseph Lees Williams Memorial Collection, lent by 
Mrs. Charles F. Williams), the rug collection of the Metropolitan 
Museum now numbers 258 specimens. In quality and representa¬ 
tive character, as well as in number, the collection is one of extra¬ 
ordinary importance, illustrating with characteristic specimens the 
development of rug weaving in the Orient from the fifteenth to the 
early nineteenth century. 

Turkish rugs of the sixteenth, seventeenth, and eighteenth cen¬ 
turies are a feature of the Ballard Collection, which is exceptionally 
rich in fine productions of the Ushak, Ladik, Bergama, Ghiordes, 
Kula, and other looms of western Asia Minor. The group of 
nineteen Ghiordes and Kula prayer rugs would alone give distinction 
to any collection. Among the most beautiful pieces in the collection 
are three large medallion carpets with floral patterns, which in del¬ 
icacy of design and exquisite color rival the greatest masterpieces 
from the looms of Persia. These rugs, which are related to the so- 
called “Damascus’’ rugs, also represented in the collection, are be¬ 
lieved to have been produced in an imperial Turkish manufactory 
located in Asia Minor. Of conspicuous importance are two great 
“dragon” carpets of Armenian origin. 

Caucasian and Central Asiatic rugs, for the most part of the 
eighteenth and early nineteenth centuries, constitute an interesting 
section of the collection. These rugs, which have been chosen with 
fine discrimination, are particularly welcome accessions, since the 
types exemplified have hitherto been unrepresented in the Museum. 

Although the Persian carpets in the collection are not numerous, 
they admirably represent several of the principal types of rug weav¬ 
ing in the country which, above all others, achieved the greatest 
triumphs of the textile arts. Especially notable are an early “star” 
carpet, a “Kerman” rug with flowering-plant design, a fragmentary 
“vase” carpet, and a characteristic late “garden” carpet. The col¬ 
lection is completed by a few Indian, Chinese, and Spanish carpets. 

The installation of the exhibition is the work of Joseph Breck, 
Assistant Director of the Museum and Curator of the Department 
of Decorative Arts, and the following catalogue has been prepared 
by him and Miss Frances Morris, Associate Curator in that 
department. A short account of rug weaving in the Orient is 


vi 


Preface 


given in the Introduction 1 ; the literature on the subject may be 
consulted in the Museum Library. The catalogue descriptions have 
been restricted mainly to notes on colors and to comment of general 
interest, as each rug in the collection is separately illustrated as a 
whole or in part. The drawings of ornament throughout the text 
and the cover design are by Edward B. Edwards. 

Edward Robinson, 

September io, 1923 Director 

1 Reprinted in part, with considerable additions, from the Introduction to the 
Catalogue of the Loan Exhibition of Oriental Rugs from the Collection of James 
F. Ballard, The Metropolitan Museum of Art, New York, 1921. 



• * 

vn 




























































* 


TABLE OF CONTENTS 

PAGE 

Preface . v 

List of Illustrations . xi 

Introduction .xiii 

Catalogue . i 

I. Persia. 3 

II. India . 10 

III. Turkey. .... 11 

IV. The Caucasus. 44 

V. Central Asia.52 

VI. China.59 

VII. Spain. 63 

Index .65 

Illustrations . 71 


IX 















LIST OF ILLUSTRATIONS 


Details of ornament drawn from rugs in the Ballard Collection 
have been used as illustrations throughout the catalogue. Refer¬ 
ence to each is made in the description of the rug from which the 
detail was taken, and the cuts in the text have always been placed 
within, or immediately before or after, the entry describing the rug 
from which the motive was selected. For the convenience of the 
student of ornament, the following list of the rugs used for the cover 
design, vignette on the title-page, head-bands, and tail-pieces is 


given: 

NUMBER 

Cover Design .io 

Vignette on Title-Page.26 

Preface 

Head-band. 45 

Tail-piece. 10 

Introduction 

Head-band. 5 

Tail-piece. 8 

Catalogue 
I. Persia 

Head-band. 8 

Tail-piece. 2 

II. India 

Head-band . 15 


xi 











LIST OF ILLUSTRATIONS 


NUMBER 

III. Turkey 

Head-band.24 

IV. The Caucasus 

Head-band.101 

Tail-piece.100 

V. Central Asia 

Head-band.107 

Tail-piece.111 

VI. China 

Head-band.120 

Tail-piece. 119 

VII. Spain 

Head-band.128 

Tail-piece.127 

Index 

Head-band.16 

Tail-piece.43 


• • 
Xll 














INTRODUCTION 

I N this summary account of rug weaving in oriental lands, it is 
obviously impossible to dwell at any length upon the difficult 
question of origin; it must suffice to say that the craft is un¬ 
questionably one of great antiquity. The earliest carpets were 
probably of the tapestry (kilim) variety; but in the historical period 
the knotted-pile carpet predominates. Both kinds are made on 
the loom. In the kilim weaves, weft-threads of varied colors to 
form the design are passed alternately over and under the warp- 
threads stretched on the loom; as the work proceeds, the weft- 
threads are pressed down to give a compact texture. Resembling 
the kilim but more intricately woven, the Soumak is another type 
of smooth-faced carpet; the process is described on page xxiv. 

In the manufacture of knotted-pile carpets, rows of knots, each 
requiring two 1 warp-threads for a single knot, are tied by hand and 
the ends cut off to produce an even pile surface; the knots are held 
in position by weft-threads, concealed beneath the pile. Upon the 
number of knots and the closeness of the warp-threads depends 
the fineness of texture. As many as 790 knots to a square inch 
have been counted in an extremely fine specimen; 2 the coarser mod- 

1 An exception may be noted in early Spanish carpets, in which a single warp 
knot, tied on alternate warp-threads, is customary. 

2 The example referred to is a fragment of an Indian carpet in the Altman Col¬ 
lection. 

• • • 
xm 











INTRODUCTION 


ern productions average about fifteen to sixty knots to the square 
inch. There are two kinds of knots: one is called the Ghiordes or 
Turkish knot; the other, the Sehna or Persian knot. In the Ghior¬ 
des knot the two free ends of the yarn come out between the pair of 
warp-threads, across and in front of which the yarn has been passed. 
In the case of the Sehna knot, the yarn completely encircles one 
warp-thread of a pair but is passed under the second so that only one 
yarn-end emerges between the pair of warp-threads, the other com¬ 
ing to the front outside. Wool is the principal material for knotting; 
silk occasionally is used; and gold and silver threads are sometimes 
woven (not knotted) in the fabric to give greater richness of effect. 
The warp-threads may be of cotton, wool, or silk. The colors of 
the old rugs are few in number and limited in shades. Red, blue, 
green, yellow, black, and white, and occasionally violet, are the 
principal colors. The old dyes, although happily far from “ stand¬ 
ardized/’ have a beauty and a permanency rarely attained in mod¬ 
ern productions. 

The dating of early rugs is a matter of much uncertainty; but a 
small number of rugs may surely be assigned to the fifteenth cen¬ 
tury, and for a few exceptional pieces, dates even as early as the 
thirteenth and fourteenth centuries are claimed. It is not until 
the sixteenth century that we find the certain evidence of a date 
wrought into the carpet itself; our reference is to the famous Arda- 
bil carpet, which bears the date 946 of the Hegira (A. D. 1540). 
Many rugs have come down to us from the sixteenth century, the 
Golden Age of the industry, but naturally they are not by any means 
so numerous as the later fabrics of the seventeenth and eighteenth 
centuries and of modern times. In general, oriental carpets may be 
classified as Persian, Indian, Turkish, Caucasian, Central Asiatic, 
and Chinese. Early Spanish carpets form a related group. 

Persia. The oft-quoted description 3 of the sumptuous “ garden ” 
carpet of the Sassanian monarch, Chosroes I (A. D. 531-579), per¬ 
mits one to assume, although this carpet was probably embroidered 

3 From an Arabic manuscript. The carpet, which represented a garden in full 
bloom, was called “The Winter Carpet” or “The Spring of Chosroes.” It was 
used during the inclement winter season when the pleasure-grounds of the palace 
were unsuited for festive purposes. The carpet was destroyed in 637, when the 
Arabs sacked Ctesiphon. 


xiv 


INTRODUCTION 


or tapestry-woven rather than knotted, that the craft of rug weav¬ 
ing was known at a very early date in Persia. Before the sixteenth 
century, however, the nature of its development is largely conjec¬ 
tural. No doubt, traditional patterns were continued; but the 
Mongol invasions of Persia in the thirteenth and fourteenth centu¬ 
ries and later relations with the Far East introduced new motives, 
such as the “dragon and phoenix” and the “Chinese cloud-band,” 
which long continued popular. 

Characteristic in general of Persian rugs are the graceful, flowing 
lines of the design; the well-ordered composition; the mellow, rich- 
hued harmony of the color; the popularity of floral motives; the 
frequent introduction of animal, and even human, forms; and the 
technical perfection of the manufacture. 

An early type of Persian carpet, of which the more primitive ex¬ 
amples may be assigned to the late fifteenth century, shows a large, 
central, star-shaped panel extending nearly across the width of the 
field, with or without pendent panels; quarter-sections of the 
central figure sometimes occur in the corners of the field; the orna¬ 
ment consists of spiral floral stems interlaced with arabesques. A 
splendid example (No. i) of these early medallion carpets is in¬ 
cluded in the collection; another (No. 3) is a late version of the same 
type. 

The medallion scheme often occurs in the “animal” and “hunt¬ 
ing” carpets, which are properly counted among the most beautiful 
productions of the Persian looms. They were made, presumably, in 
northern Persia; perhaps, as it has been suggested, the looms of 
Tabriz in northwestern Persia had the principal share in their pro¬ 
duction. Animals are found in the designs of fifteenth-century rugs, 
but it was during the reign of Shah Tahmasp I (1524-1576) that 
this type of rug enjoyed its greatest popularity. 4 After the close of 
the century, such rugs are rare. The “hunting” carpets depict, 
in the conventional perspective of Eastern decorative art, the wild 
animalswhich have been driven by beaters into an enclosed space and 
the huntsmen who proceed to their indiscriminate massacre. Some¬ 
times human figures are represented more pacifically occupied— 
seated around a pool, or in a garden feasting and making music. In 
other rugs, animals only are represented, savagely preying on one 

4 Notable examples of “animal” rugs are included in the Museum collection. 


xv 


INTRODUCTION 


another. These animal and human figures are combined with floral 
ornament of the most exquisite quality, interspersed with “Chinese 
clouds” and other decorative devices. The splendid border design 
of No. 5 is one which occurs on several well-known “hunting” or 
“animal” carpets, but the field design of palmettes and scrolling 
stems is purely floral. Rugs with floral patterns constitute an im¬ 
portant class of Persian carpets; occasionally they bear verses in 
praise of spring or of the nightingale singing in the rose-bushes. 

In the rugs just discussed, the floral ornament is usually disposed 
in a balanced arrangement about a central medallion. A different 
scheme is followed in a class of rugs patterned with individual plant- 
forms repeated at close intervals over the field, often within a trellis¬ 
like framework. No. io is a beautiful example of this type, dating 
from the late sixteenth century. As designs of similar character are 
found in comparatively modern rugs woven in the province of Ker¬ 
man in southeastern Persia, it has been claimed with some justifica¬ 
tion that the older examples were presumably made in the same 
district. 

The so-called “vase” carpets (No. 8), dating from about the 
middle or second half of the sixteenth century, are related in design 
to these “Kerman” floral carpets, and may be assigned to the same 
locality. The name is derived from the vases holding flower sprays 
which are introduced in a pattern of conventional floral motives 
within large ogee-shaped compartments defined by delicate stems. 

Perhaps from southern Persia come the rare “landscape” or 
“tree” rugs, of which a supremely beautiful example is in the Joseph 
Lees Williams Memorial Collection; but, as a matter of fact, we 
know really very little about the provenance of these early rugs. 
A south Persian origin is also claimed for the early examples (seven¬ 
teenth century) of the so-called “garden” rugs; but the later speci¬ 
mens (first half of eighteenth century) would seem to have been 
woven in northern Persia, possibly by weavers from the south. 
Such shiftings of artisans were not uncommon. The later rugs, of 
which a well-known example (No. 4) is included in the collection, 
differ from the earlier in their more angular treatment and less elab¬ 
orate design. The “garden” carpet represents in conventional 
perspective an enclosed pleasure-ground divided into rectangular 
plots, gay with flowers and shrubs, and watered by narrow streams 


xvi 


INTRODUCTION 


and reservoirs in which fish and ducks are swimming, while birds 
■flit among the trees. These “garden” carpets are possibly reminis¬ 
cent of the celebrated “Spring” of Chosroes. But as there are no 
existing carpets of this type earlier in date than the late sixteenth 
century, it may be surmised that the “garden” carpets are not 
survivals of an ancient, traditional pattern, handed down from 
weaver to weaver since the Sassanian period, but owe their origin, 
if indeed they have any connection with Chosroes’ “Spring,” to lit¬ 
erary descriptions of this famous carpet. 

Presumably woven in a court manufactory during the first half of 
the seventeenth century is a class of silk-pile rugs, with stylized leaf 
and flower patterns, which are distinguished by their delicate colors 
and liberal use of gold and silver. It was once thought that these 
rugs were Polish, but their Persian origin is now unquestioned. 
Many are known to have been sent as presents from the Shah to 
Europeans of high rank, and rugs of this class would seem to have 
been made with an eye to European taste. 

A well-known type of Persian carpet, the so-called “Ispahan,” 
comes from the region of Herat in eastern Persia. The patterns are 
characterized by the use of palmettes, “Chinese cloud-bands,” and 
scrolling stems, to which in the later examples are added curving, 
serrated leaves. The usual color of the ground is red, with borders 
of blue or green. The finest examples (such as No. 5) date from the 
second half of the sixteenth century or the early seventeenth; after 
the middle of the latter century the Herat rugs deteriorated in de¬ 
sign and manufacture. 

Persian rugs of the eighteenth and early nineteenth centuries are 
often of considerable merit; but even in the best of these late produc¬ 
tions, there may be noted a rigidity of design, a lack of spontaneity and 
of refinement, which reveal a gradual retrogression from the classic 
standards of the great period. This deterioration in design and color 
was greatly accelerated, after the middle of the nineteenth century, 
by European influence and the pressure of commercial demands. 

India. The finest of the Indian 5 “animal” and floral carpets of 
the late sixteenth and seventeenth centuries come presumably from 

5 The Altman and Morgan Collections contain superb examples of Indian rug 
weaving. 


xvil 


INTRODUCTION 


the factories established by Akbar, the great Mogul emperor (1556- 
1605). Persian influence is conspicuous in these Indian carpets, 
especially in those which imitate Herat models, and in the rugs 
with floral motives in trellis patterns. But there are several points 
of difference. The “hunting” or “animal” carpets are more pic¬ 
torial than their Persian prototypes, and the floral designs more 
realistic. The coloration, in which an unmistakable madder red 
predominates, is also distinctive. The range of colors is well seen 
in No-Jaj; a small rug with an unusual swastika design. In skill of 
hand the Indian weavers, who doubtless included Persian craftsmen 
among their number, were second to none. A class of sumptuous 
Indian rugs is distinguished by a texture so fine that it can be com¬ 
pared only to velvet; a favorite pattern for rugs of this type is com¬ 
posed of flowering plants usually enclosed within compartments. 

. ' . ■ .. 

Turkey. Turkish carpets are characterized in general by bold¬ 
ness of pattern rather than by the refinement of design which dis¬ 
tinguishes The classic Persian weaves. As a rule, the Turkish pat¬ 
tern is angular or geometric in character. Animal and human 
forms are rare, but conventionalized floral motives—and even fairly 
realistic renderings of the tulip, hyacinth, pink, and other flowers 
found on the so-called “Rhodian” and “Damascus” faience of the 
period—are of frequent occurrence. The coloring of the old rugs 
is generally rather bright and full-hued, with vigorous contrasts of 
scarlet and yellow or of red and blue, although in some of the later 
fabrics, such as the Ghiordes, more delicate colors and lighter effects 
were sought. 

In describing these rugs one may with equal propriety substitute 
the designation Asia Minor for Turkish, since for centuries the 
chief centers of Turkish rug weaving have been in this part of the 
Ottoman Empire. Rug weaving was undoubtedly practised at a 
very early date in Asia Minor, although few specimens have sur¬ 
vived, such as the three rugs formerly in the Mosque of Ala-ed-Din 
at Konia, which are believed to be of the thirteenth century, and 
the “dragon and phoenix” carpet in the Kaiser Friedrich Museum, 
Berlin, which may be dated in the fourteenth or early fifteenth cen¬ 
tury. With the latter century our task is easier, and a small num¬ 
ber of existing rugs may be assigned to this period on the evidence 


XVlll 


INTRODUCTION 


afforded by contemporaneous European paintings in which oriental 
carpets are represented. 

Some of the oldest Asia Minor rugs are known as “Holbein ” rugs, 
since they appear in paintings by Hans Holbein and other artists of 
his time. Rugs of this type, which were woven from about the 
middle of the fifteenth to the middle of the sixteenth century, have 
a purely geometric pattern, usually consisting of complicated star 
and cross forms or squares, outlined with interlacing bands; the 
borders often imitate Kufic lettering. In another variety, a few 
large stars fill the field and the colors are more vivid. 

Another type of rug frequently seen in European paintings of the 
sixteenth and seventeenth centuries is patterned with an all-over 
design of angular arabesques or leaf forms in yellow on a scarlet 
ground; in the borders are “Chinese cloud-bands” or simulated 
Kufic letters (see No. 37). 

A familiar class of Asia Minor rugs of the sixteenth and seven¬ 
teenth centuries, well represented in the collection, is assigned to 
the district of Ushak. These carpets are usually of large size and 
are rather coarse in texture. Large stars or medallions, either com¬ 
plete or sectional (Nos. 25-27), appear in the field, which is closely 
patterned with angular floral and arabesque motives. Blue and yel¬ 
low and blue and red are the favorite color combinations. Persian 
influence is seen in the decorative scheme of some of these “Ushak” 
rugs, but the character of the design is unmistakably Turkish. 

Closely related to the “Ushak” weaves are the “Bergama” rugs 
(Nos. 44-48), sometimes called “ Siebenbiirger, ” because many have 
been found in Siebenbiirgen (Transylvania). They are more nearly 
square in shape than most Asia Minor rugs, and have a character¬ 
istic compartment border. Rugs of this kind may be seen in Euro¬ 
pean paintings of the sixteenth and seventeenth centuries. 

Another class of rugs, related to the “Ushak,” is distinguished by 
the white ground upon which is developed an all-over pattern based 
on a rhomboidal motive suggesting two birds facing in opposite di¬ 
rections (hence the name “bird” rugs) and probably derived from 
a stylized leaf form (No. 35); in another variety of these scarce rugs 
the “clouds and triple moon” motive is used in a repetitive pattern. 
These rugs date from about the end of the sixteenth to the middle 
of the seventeenth century. 


xix 


INTRODUCTION 


A well-known type of Asia Minor rug bears the name of Ladik. 
The rich coloring of these weaves and their characteristic ornament 
of pomegranate lily stalks and “arrow-heads” or “vandykes” may 
be seen in the fine prayer rugs, Nos. 39-43. 

The distinctive feature of the prayer rug is the representation in 
the field design of the prayer niche or mihrab, which indicates in 
the mosque the direction of Mecca, the Holy City, toward which 
the Mohammedan faces at the times of prayer. It is in this direc¬ 
tion that the apex of the arched panel is pointed when the prayer 
rug is used. But a rug of special design is by no means essential 
to the performance of the Mohammedan’s devotions; his needs are 
served by any small rug or piece of matting, or even by his own 
coat, upon which he may kneel and prostrate himself in prayer. 
The shape of the arch varies in the prayer rugs of different districts, 
affording a valuable means of identification. Sometimes the col¬ 
umns or pilasters of the mihrab are represented, but more often 
they are merely suggested by ornamental stripes or panels of flowers. 
A vase-shaped lamp may be shown suspended from the apex of the 
arch; or, instead of the lamp, an inverted ewer, a vase of flowers, 
or some other ornamental device may be substituted. Ordinarily, 
the prayer rug has but one niche; there are, however, large carpets 
in which the niche is many times repeated. In an unusual type of 
single-paneled prayer rug both ends of the field are arched; but not 
every carpet with “spandrels” in the four corners is a prayer rug. 
Unless the field design corresponds in other respects with the un- 
symmetrical type, the compositional scheme has probably no par¬ 
ticular significance. 

From Ghiordes and Kula in western Asia Minor come the prayer 
rugs (Nos. 52-54, 57-72) which constitute a feature of the Ballard 
Collection. The general characteristics of these rugs are well 
known. The introduction of ornament in the niche field is more 
common in the Kula than in the Ghiordes type, where the effect is 
usually that of a solid-color field; the Kula niche differs in shape 
from the Ghiordes, and the border is usually composed of more 
stripes than is customary in the latter; the Ghiordes, as a general 
rule, has a cross-panel above and below its field, the Kula, only the 
upper panel. The finest productions of the Ghiordes and Kula 
looms date from the seventeenth and eighteenth centuries. Al- 


xx 


INTRODUCTION 


though in design these prayer rugs lack the vigorous quality of the 
earlier Turkish carpets, the best examples are delightfully harmo¬ 
nious in color. Delicate hues are skilfully contrasted with strong, 
pure colors, and one has only to consider as color alone the beau¬ 
tiful shades of blue, nile green, or ruby in the mihrabs of such rugs 
as Nos. 64, 61, and 52 to understand the popularity which this class 
of rug has long enjoyed. 

Undoubtedly the most beautiful of Turkish rugs are the exquisite 
floral carpets related in material, technique, and coloring to the so- 
called “Damascus” rugs. Both types, of which superb examples 
are included in the collection, are characterized by a peculiar color 
scheme in which cherry red, generally used for the background, is 
combined with sage green, yellow, and light blue. This rich, har¬ 
monious tonality is enlivened by the sheen of the lustrous wool of 
the Angora goat with which these rugs are knotted. The warp is 
usually of silk, and this material is also sometimes used for the pile. 

The pattern of the so-called “Damascus” rugs (No. 18) is com¬ 
posed of various geometrical forms, producing a mosaic or tile effect, 
combined with small, conventionalized flower and tree motives. A 
large, many-sided star usually occupies the center of the field, al¬ 
though the latter is sometimes divided into squares enclosing hexa¬ 
gons; the border pattern is usually based on an alternation of cir¬ 
cular and elongated compartments. Rugs of this type were called 
“Damascus” because of a fancied resemblance to the designs on 
metalwork associated with Damascus, and because there are refer¬ 
ences in sixteenth-century Venetian records to “tappeti damas- 
chini.” There is no evidence, however, that rugs were woven at 
Damascus, although it may well have been a distributing center, 
thus giving rise to a confusion in nomenclature. 

Carpets of the floral type (Nos. 19-24) usually follow the central 
medallion scheme of composition with quadrants in the corners; 
“Chinese cloud-bands,” palmettes, and curving, serrated leaves are 
combined with a variety of flowers—some conventionalized, others 
fairly realistic in treatment. As Persian influence is very evident in 
rugs of this type, it may be of interest to note that on several occa¬ 
sions when the Turks had successfully invaded Persia, skilled Per¬ 
sian craftsmen were transported to Asia Minor. 

Various opinions have been advanced as to the true provenance 

xxi 


INTRODUCTION 


of these carpets. The most probable is that both types were woven 
at some court manufactory located in Asia Minor, perhaps near 
Brusa, since the floral ornament is closely analogous to that of Asia 
Minor faience of the sixteenth and seventeenth centuries and the 
geometrical type is sufficiently related to make the same origin prob¬ 
able for both. A theory has been advanced, however, that rugs of 
the geometrical type were woven in Egypt and that the floral type 
is a later Anatolian development. Although the intricate geometri¬ 
cal patterns recall the mediaeval Arabic art of Egypt, this type of 
ornament is not so exclusively confined to Egypt as to preclude an 
Anatolian origin for the entire group. A late development in this 
class of rugs may be seen in a group of prayer rugs, dating from the 
seventeenth or perhaps the late sixteenth century, which resemble 
the floral type in their borders. No. 24 is a beautiful example of 
these rare prayer rugs. 

Perplexing problems of origin and date are presented by a small 
group of carpets known as “dragon” rugs (Nos. 16, 17) from the 
frequent occurrence in their designs of highly conventionalized dra¬ 
gon motives. Other animals are also represented, but usually in 
a form so stylized as to make identification uncertain. In rugs of 
this type, the field is ornamented with animal and palmette motives 
enclosed within lozenge-shaped compartments formed by long, thin 
“leaves” springing from large palmettes. It was first thought that 
these “dragon” rugs, from the primitive character of their austere 
patterns, might be dated as early as the middle of the thirteenth 
century. More recent opinion, however, places the period of pro¬ 
duction mainly in the seventeenth century; a rug of this type (but 
without the “dragons”) bears an Armenian inscription and the date 
1129 (corresponding to A. D. 1679). Although the influence of 
Persian models may be discerned in the use of animal motives and in 
the compositional scheme, these carpets are obviously not the work 
of the skilled Persian weavers. They come in all probability from 
the looms of a peasant or nomad people, who borrowed from the 
more highly developed art of other countries with which they were 
in contact, while still retaining much of the archaic character of a 
traditional folk art. These considerations make plausible the hy¬ 
pothesis, now generally accepted, that the home of the “dragon” 
rugs is Armenia; they were probably woven in the region adjoining 

xxii 


INTRODUCTION 


(perhaps forming part of) the northwestern boundary land of 
Persia. 

A lew lines must suffice for the modern “Turkey carpet.” The 
coarse, large rugs produced for the European market in the Asia 
Minor coast factories (notably at Smyrna) are inferior in every re¬ 
spect to the great “Ushak” weaves of which they are the degenerate 
descendants. Smaller rugs are still woven on the home looms, es¬ 
pecially in Anatolia; but in the medley of Turkish, Persian, and 
Caucasian patterns, in the crude colors and poor texture of these 
quite modern rugs there is little of artistic interest. 

The Caucasus. The political boundaries of the district whence 
come the carpets forming the Caucasian group have shifted so fre¬ 
quently during the period in which they were produced that any 
attempt to classify these fabrics as Turkish, Persian, or Russian 
would lead to unending complications. The obvious solution of 
the difficulty is to use the term Caucasian to describe the carpets 
woven in the region traversed obliquely by the Caucasus Moun¬ 
tains, which lies between the Black Sea and the Caspian. Although 
rug weaving was undoubtedly practised for many centuries in this 
locality, the oldest rugs of a distinctly Caucasian style do not 
antedate the seventeenth, or even, perhaps, the early eighteenth 
century. The vast majority are nineteenth-century or modern pro¬ 
ductions. 

Despite the diversity of floral, geometrical, and animal motives 
in rugs of this group, they are alike in their general tendency toward 
a geometrical rendering. As one might expect from the proximity 
of Persia and Turkey, the Caucasian weavers have borrowed ex¬ 
tensively from both sources. On the other hand, nomad tradition 
is responsible for the geometrical figures—the stars, polygons, and 
diamonds—which compose the ornament of a large class of Caucas¬ 
ian rugs. The severity of these devices is often relieved by serrated 
outlines or by series of latch-hooks. Among the small “space 
fillers” used by the Caucasian weavers, quaint figures of men, 
birds, and animals are not uncommon. 

The majority of Caucasian rugs are knotted-pile fabrics, but two 
varieties of smooth-faced or tapestry carpets, the kilim and the 
Soumak (Nos. 89-91) also occur. Reference has been made to 

xxiii 



INTRODUCTION 


the kilim technique on page xiii. The Soumak is a more 
complicated process of tapestry weaving; the weft-threads are al¬ 
ternately passed forward under four warps and then backwards 
over two warps. As the direction of the weft is alternately reversed, 
a more varied surface texture is produced than in the simpler 
kilim weaves. 

The great Caucasus mountain range, crossing the country from 
northwest to southeast, permits a convenient division of the Cau¬ 
casian rugs into northern and southern groups. In the north the 
province of Daghestan, of which Derbend is the principal town and 
chief distributing center, has produced carpets of excellent manu¬ 
facture with characteristic patterns of lattice diapers and small de¬ 
vices used repetitively. Some Daghestan rugs are called Kabistans 
(No. 92); Kouba gives its name to another group (No. 93). The 
northern nomad rugs are known as Lesghians, but would seem to 
be much the same as those of the south except that they are said to 
have a selvage of several cords instead of one. 

One of the principal districts in the southern group is Shirvan 
(Nos. 94-96). The carpets woven here are somewhat coarser than 
the Daghestan, and the patterns, which exhibit a great variety of 
design, are rather less refined. Large diamond-shaped figures or 
rectangular panels connected by narrow necks are common in the 
field designs. A class of rugs with rows of large “cone” devices in 
the field are assigned to Baku. The Kazak (Cossack) or nomad 
rugs of the south (Nos. 97-100) with long, lustrous pile comprise 
a striking group of Caucasian rugs. The bright colors and bold 
geometrical designs have a savage beauty admirably represented on 
such a rug as No. 97. The Tcherkess (or Circassian) rugs are a 
variety of Kazaks, distinguished by their tawny color. Another 
type resembling the Kazak, distinguished by the prominence of 
white among the colors, is given the name of Gengha, a town in the 
province of Karabagh. Other rugs, vaguely reminiscent of Persian 
models, are produced in this region; the better ones are called after 
the town of Shusha. 

Central Asia. The wandering Turkoman tribes of the vast 
region which lies between Persia and China have long been skilled 
weavers of both pile and tapestry fabrics, intended to serve a vari- 


XXIV 


INTRODUCTION 


ety of purposes in the nomadic life of these tent-dwelling people. 
Turkoman carpets thus include not only floor rugs but also saddle 
bags, camel collars, tent bags, portieres, and borders for the tent 
entrance. No specimens exist of any great age, but some of the 
oldest may be assigned to the eighteenth century; most Turkoman 
rugs are comparatively modern productions. Nevertheless, it may 
be safely assumed from the primitive character of the designs, as 
well as from other considerations, that carpet weaving has been 
practised among the Turkoman nomads for many hundreds of years. 
The scarcity of antique examples is easily explained by the hard 
usage to which the carpets are subjected. 

The principal district in which rugs are produced corresponds 
roughly with the province of Transcaspia in southwestern Turkes¬ 
tan. It extends eastward from the Caspian to Bokhara, north¬ 
ward to the sea of Aral, and southward to the boundary of Per¬ 
sia. The carpets woven by the Turkoman nomads of Afghanistan 
and Beluchistan have much the same general character as the 
Transcaspian, but are inferior in color, design, and technique; 
Chinese influence predominates in the rugs of eastern Turkestan. 
The Turkoman rugs of the Transcaspian region are often wrongly 
described as Bokharas. Although carpets are woven in Bokhara 
(No. 113), they are distinct from the true Turkoman in design and 
color; the patterns show Persian influence and a considerable use is 
made of yellow. 

The predominating color in the Transcaspian rugs (Nos. 103- 
112) is a deep, rich red of a brownish or purplish tinge. Dark blue 
adds to the rather sombre effect, which is relieved, however, by the 
introduction of small passages of bright color. Patterns, which are 
traditional, vary somewhat with the different tribes, but are usually 
severely geometrical and repetitive in character. Floral, human, 
and animal motives are rare, but some form of the “tree of life 
is not uncommon. Perhaps the most familiar of all the Turkoman 
decorative forms is the flattened eight-sided compartment. This 
motive, arranged in rows and columns, forms a pattern of frequent 
occurrence on the rare Salor or more common Saryk (No. 107) and 
Tekke (Nos. 103-105) weaves. In another popular design (No. 
106), the field is divided into rectangular panels of approximately 
the same size by the crossing of a vertical and a horizontal stripe. 


xxv 


INTRODUCTION 


The principal tribes in southwestern Turkestan are the Tekke and 
the Yomut. As already noted, the repeating octagon design is typi¬ 
cal of the Tekke; the Yomuts (Nos. 108, 109) exhibit a greater 
variety of pattern, usually based on latch-hooked, diamond-shaped 
figures; the prominence given to white is another characteristic. 

China. It is only in comparatively recent years that Chinese 
rugs (Nos. 118-126) have appeared on the market. Very few can 
claim much antiquity. Some silk and metal rugs may go back to 
the Ming period (fourteenth to seventeenth centuries); for others 
an eighteenth-century date is possible; but the great majority of 
these attractive, if rather coarsely woven, wool rugs are either of 
the nineteenth century or quite modern. The usual colors are 
white, yellow, tan, blue, and rose; the extensive repertory of Chi¬ 
nese decorative motives affords an interesting variety of pattern. 
In size these fabrics range from small mats to carpets of huge dimen¬ 
sions, 6 and include not only floor coverings but saddle covers, seat 
covers, and pillar rugs. These last, a type of rug peculiar to China, 
are intended for the decoration of temple pillars; they are designed 
to be seen with the two long sides of the rug brought together. 
The scarcity of antique examples would seem to indicate that rug 
weaving was a relatively modern development in China, at least on 
any large scale; but the evidence at present available is not suffi¬ 
cient to warrant any final conclusions. 

Spain. Spanish carpets include some of the oldest known ex¬ 
isting pile-knotted fabrics of any land. As the Arab conquest of 
the Peninsula brought Spain into political and commercial rela¬ 
tions with the East, it is safe to assume that the craft came to Spain 
from the Orient at an early date. Existing specimens do not, how¬ 
ever, antedate the fifteenth century. Among these rare fabrics 
are a few carpets of exceptional length in proportion to their width, 
which are known as “heraldic” carpets 7 from the introduction of 
large shields-of-arms in the small diaper designs which pattern the 
field; in the borders are grotesque figures of men and animals and 

6 See, for example, the carpet presented by J. P. Morgan (Gallery D 3). 

7 A remarkable example of this type of fifteenth-century Spanish rug is included 
in the Joseph Lees Williams Memorial Collection (Gallery D 3). 


xxvi 


INTRODUCTION 


a design of simulated Kufic letters borrowed from Asia Minor pat¬ 
terns. Oriental influence is manifest in the geometrical designs of 
other early Spanish rugs, which also imitate, although on a much 
larger scale, the designs of contemporaneous European textile fab¬ 
rics (No. 127). This type of design was particularly popular in the 
sixteenth century; in the seventeenth century, copies or adaptations 
of the patterns of Turkish carpets are frequent. 



xxvii 






CATALOGUE 







CATALOGUE 
I. PERSIA 


i PERSIAN. Late XV Century. 

Colors: Field: light terracotta ground; blue star; pattern , light and 
dark blue , sage green , red, white , brown. Border: sage green , 
repeating field colors in pattern. Material: warp and weft , 
cotton; pile , woo/. Technique: Sehna knot , /yd /o J7. /».; /wo 
weft-threads inserted after each row of knots. 

Size: Z. /p//., /». /Z. 7//., /o /». Acc. No. 22.100.75. 



This carpet with its large central star is a character¬ 
istic example of the early medallion type of Persian 
carpet. In the field and border designs occur highly 
conventionalized, arabesque leaf motives supported by 
gracefully scrolled, interlacing floral stems of the type 
familiar in Persian decorative art of the period (see 
drawing). The palmettes are small in scale, as is usual in 
early rugs. Persian carpets of this type were presumably the 
prototypes of the large “Ushak” carpets of Turkey. Some¬ 
times animals are introduced in the patterns of these Persian 
“star” carpets, which are believed to have been woven in 
northern Persia; the finest examples date from the end of the 
fifteenth or the first half of the sixteenth century. Another 
beautiful rug of this type, dating from the beginning of the 
sixteenth century, is in the Altman Collection. 


3 










THE BALLARD COLLECTION 


2 PERSIAN. About 1500. 

Colors: Field: white ground; pattern, light and dark blue, green, 
red, yellow, white, and black. Material: warp, cotton; weft , 
ra/ woo/; />//£, woo/. Technique: Sehna knot, /o /».; 

//2r<?<? weft-threads inserted after each row of knots. 

Size: L. 2ft., p in. W. j ft., 2\ in. Acc. No. 22.100.6g . 

This is a fragment of an early “star” carpet 
of the type exemplified in No. 1. The central 
“star” or medallion in such rugs was sometimes 
given a more elaborate form (see No. 3) by the addition of pen¬ 
dent panels of the form shown in this fragment (see tail-piece, 
page 9). The white ground (an early feature in rugs of this 
type) and the austerity of the design permit this piece to be 
assigned to a date about 1500. 

The “fungus” motive bordering the panels (see drawing) is 
derived from the Chinese “ tschi ”; it serves the same purpose here 
as the latch-hook and serrated outline in the later Caucasian and 
Transcaspian rugs, i.e.,to relieve the severity of an angular form. 

3 PERSIAN OR ARMENIAN. Late XVI or XVII Century. 

Colors: Field: dark brown ground; central medallion, blue star 
on scarlet; details in light blue, red, and yellow. Border: light 
red, with pattern in indigo, light blue, and yellow. Material: 
all wool. Technique: Sehna knot, 121 to sq. in.; three and four 
red weft-threads inserted after each row of knots. 

Size: L. igft., 5 in. W. 8 ft., g in. Acc. No. 22.100.gp. 

This large carpet is a late example of the “star” or medallion 
type of Persian rug. The graceful, interlacing arabesque bor¬ 
der design of the early examples, such as No. 1, is here trans¬ 
formed into a stiff, awkward pattern; the scrolling stems of the 
field pattern have become the rigid framework of a design which 
recalls late Persian floral patterns of a repetitive character. 
The prominence of scarlet, yellow, and brown in the coloration 
is suggestive of the bright hues of the “dragon” carpets woven 
in Armenia, or possibly, in the northwestern boundary territory 
of Persia. This “star” carpet may have been made in the same 
region, probably in the seventeenth century, but possibly in the 
late sixteenth. 



4 




PERSIAN RUGS 


4 PERSIAN. First Half of XVIII Century. 

Colors: Field: deep blue ground; water motive, blue, green, red, 
white; plant forms and details, m/, blue, gray-green, white. 
Border: red and violet trefoil motive outlined in red. Material: 

tttf/"/, cotton; pile, woo/. Technique: Ghiordes knot, 
iy6 to sq. in.; two undyed weft-threads inserted after each row of 
knots; cord selvage. 

Size : L. /o /a, 5 /». /F. 6 ft., 2 in. Acc. No. 22.100.128. 

The conjectural origin of the “garden” type of rug, of which 
this is a well-known example, has been discussed in the Intro¬ 
duction, p. xvi. Although this “garden” carpet, formerly in the 
Lamm Collection, Sweden, is one of the latest examples known 
(it is dated about 1750 by F. R. Martin, Oriental Carpets, p. 84, 
PI. XXIV), it continues the traditional pattern of a garden en¬ 
closure, divided into rectangular plots by canals radiating from 
a central basin in which fish are swimming. The water is 
represented in the customary way by parallel stripes, and the 
fish and plant motives are depicted in a manner no less con¬ 
ventional. 


5 PERSIAN. Herat. XVI Century. 

Colors: Field: claret red ground; pattern, white, yellow, orange, 
green, light and dark blue. Border: emerald green; pattern, field 
colors repeated. Material: warp and weft, cotton; pile, wool. 
Technique: Sehna knot, 25J to sq. in.; two undyed weft-threads 
inserted after each row of knots. 

Size: L. q ft., 6 in. IV. 6ft., 4 in. Acc. No. 22.100.yy. 

This carpet, with its delicate field design of 
palmettes, spiral stems, and “Chinese cloud- 
bands” (see drawing) is an early example of 
a type associated with Herat in eastern Per¬ 
sia. The exquisite floral ornament of this 
carpet resembles that of the so-called “hunting” and “animal” 
carpets, which in some instances have the same beautiful bor¬ 
der design (see head-band, page xiii) of palmettes and large ara¬ 
besques, but the field design is characteristic of the early Herat 
type. 



5 


THE BALLARD COLLECTION 


6 PERSIAN. Herat. 

Late XVII or Early XVIII Century. 

Colors: Field: indigo ground; pattern, two shades of yellow, dull 
blue, pinky red, white y and green. Border: terracotta ground; pat¬ 
tern, /zew shades of blue, pink, <2?^ black. Guard stripes: light 
yellow; pattern in black and pink. Material: warp and weft, 
cotton; pile, wool. Technique: Ghiordes knot, 121 to sq. in.; 
four weft-threads inserted after each row of knots. 

Size: L. 18ft., 4 in. IV. 8ft., 5 in. Acc. No. 22.100.y1 . 


Carpet weaving flourished in the province 
of Herat during the seventeenth and early 
eighteenth centuries; it suffered a severe blow 
when Nadir Shah brought destruction to the 
province in 1731 and transferred many of its 
weavers to western provinces. Herat now 
forms part of Afghanistan, but in its palmy 
days was under Persian rule. The so-called 
“Shah Abbas” design, a balanced arrangement of palmettes (see 
drawing) and other floral and leaf motives derived from earlier 
patterns, is well exemplified in the field of this handsome carpet. 



7 PERSIAN. XVII Century. 

Colors: Field: crimson ground; palmettes, yellow, bright blue, and 
black; details in two shades of red, green, and blue. Border: in¬ 
digo; pattern, white; inner border, reciprocal trefoil in red and blue. 
Material: warp, linen; weft and pile, wool. Technique: 
Ghiordes knot , ijo to sq. in.; two red weft-threads inserted after 
each row of knots; selvage overcast. 

Size: L. 4ft., 9 in. W. 4ft. 9 in. Acc. No. 22.100.y0. 

The field pattern of this rug is the so-called “Shah Abbas” 
design (see No. 6). The angular flowering plant motive in the 
border recalls the stiff floral designs in the late “garden” rugs 
from northern Persia. The bright coloration, in which scarlet 
is conspicuous, is more Turkish than Persian in character. 


8 PERSIAN. Probably Kerman. XVI Century. 

Colors: Field: claret red ground; pattern, yellow, terracotta, gray- 
green, blue, indigo , and white. Border: indigo ground; field colors 

6 



PERSIAN RUGS 


repeated in the pattern. Material: warp and weft, cotton; pile, 
wool. Technique: Sehna knot, /o jy. /».; heavy and two 

fine weft-threads inserted after each row of knots. 

Size: L. 12ft. W. 7ft., ^ /». Acc. No. 22.100.68. 

# This interesting rug, unfortunately incomplete, is a 
fine example of the so-called “vase” carpets (see In¬ 
troduction, page xvi). Two vases, halved by the 
border, may be noted in the lower part of the field 
(see drawing). The large palmettes, characteristic 
of this type of carpet, exhibit a great variety of beautiful de¬ 
signs (see tail-piece, p. xxvii). Equally remarkable is the border 
design of interlacing arabesques (see head-band, page 3). 

9 PERSIAN. Late XVII or Early XVIII Century. 

Colors: Field: claret red ground; pattern, yellow, light and dark 
blue, gray-green, white, and deep red, with black outline. Border: 
deep blue with pattern in red and white. Material: all wool. 
Technique: Sehna knot, 256 to sq. in.; three weft-threads inserted 
after each row of knots. 

Size: L. pft., 6 in. IV. 6ft., 2 in. Acc. No. 22.100.6p. 

This carpet, which appears to be a fragment, is nevertheless 
as originally woven, with border and field intact. The scale of 
the pattern would suggest that the design may have been planned 
for a much larger carpet and only a portion of it used for this 
rug. The design is a late version of the palmette pattern fa¬ 
miliar in the so-called “vase” carpets (see No. 8), but the forms 
lack the elegance of the earlier examples. The coloration and 
texture further suggest that this rug is hardly earlier than the 
late seventeenth century. 


10 PERSIAN. Late XVI Century. 

Colors: Field: claret red ground; pattern, green , blue, indigo, 
light yellow, and ivory white. Border: indigo ground; field colors 
repeated in the pattern. Material: warp and weft, cotton; pile, 
wool. Technique: Sehna knot, 24.0 to sq. in.; one heavy and two 
fine weft-threads inserted after each row of knots. 

Size: L. 8ft., // in. IV. 5 ft., 10 in. Acc. No. 22.100.76 . 

7 


THE BALLARD COLLECTION 

This beautiful carpet, with its field of flowering shrubs framed 
in a rich-toned border of graceful arabesques, is an excellent il¬ 
lustration of a type of floral carpet from the looms of southern 
Persia. The field is patterned with rows of flowering plants 
(see tail-piece, page vii) in great variety. On other rugs of this 
type, these motives are sometimes enclosed within a trellis-like 
framework. Floral patterns of this kind have remained popular 
in Persia to the present day; the type has also been a favorite 
one in India. 


ii PERSIAN. XVII Century. 

Colors: Field: lower niche , indigo; upper , light greenish blue; 
spandrels , red; pattern , three shades of red, yellow , indigo , and 
gray-green. Border: red with pattern in light red and indigo . 
Material: warp and weft, cotton; pile , wool. Technique: 
Sehna knot , 224 to sq. in.; two undyed weft-threads inserted after 
each row of knots; selvage overcast. 

Size: L. 7 ft ., 7 in. IV. 3 ft ., 4 in. Acc. No. 22.100.72. 

This is a rare example of a double prayer rug. The influ¬ 
ence of Herat patterns is evident in the long curving leaves 
and palmettes ornamenting the spandrels and upper prayer 
niche. The pattern of the lower niche is one often associated 
with Kerman rugs. 


12 PERSIAN. Probably Kerman. XIX Century. 

Colors: Field: bright red ground; pattern , deep blue , light blue , 
and yellow. Border: indigo ground; field colors repeated in the 
pattern. Material: all wool. Technique: Sehna knot , 136 to 
sq. in.; two red and green weft-threads inserted after each row of 
knots. 

Size: L. 3 ft ., 3 in. W. 3 ft., 2 in. Acc. No. 22.100.27. 

This saddle cover with its field pattern of angular framework 
enclosing stylistic vase and tree forms bordered with “pear” or 
“cone” motives, may be assigned to the Kerman district in 
southern Persia, but patterns of very similar character are woven 
in other parts of Persia. 


8 


PERSIAN RUGS 


13 PERSIAN. Feraghan. XIX Century. 

Colors: Field: crimson ground; pattern , blue , yellow , dull pink , 
green , <2^ white , outlined in black. Border: tan ground; pattern, 
crimson , blue, and black. Material: all wool. Technique: 
Sehna knot, 154 to sq. in.; a single weft-thread inserted after each 
row of knots. 

Size: L. j//., j /». j//., 2 Acc. No. 22.100.26. 

The field of this saddle cover shows the characteristic Herati 
pattern of the Feraghan district. 

14 PERSIAN. XIX Century. 

Colors: blue, brown, yellow, m/. Material: all wool. 

Technique : Ghiordes knot , ^ /o /».; twenty red weft-threads 
inserted after each row of knots; selvage overcast. Fringed webs 
at end. 

Size: L. 7 ft. IV. 5 ft., 4 in. Acc. No. 22.100.66. 

Only a few followers of Zoroaster, the founder of the ancient 
Perso-Iranian religion, are found today in Persia (in Kerman and 
Yezd). The center of Zoroaster worship is the altar upon which 
burns the sacred fire. It is believed that the long, loose strands 
of yellow and flame-colored wool introduced in the middle of the 
field of such rugs as No. 14 are intended to represent the holy 
fire upon the altar. 



9 







II. INDIA 


15 INDIAN. XVII Century. 

Color: Field: red ground; banding in blue\ irregular fields , light 
yellow , greenish blue , and red. Border: greenish blue , repeating 
field colors in pattern. Material: cotton; weft and pile , 

woo/. Technique: Sehna knot , to sq. in.; three undyed weft- 

threads inserted after each row of knots. 

Size: L. 6ft. JV. pft. y 2 in. Acc. No. 22.100.yj. 

The border pattern clearly shows the inspiration of Persian 
models, but the familiar devices of the palmette, rosette, and 
leafy stem are rendered in a manner peculiarly Indian. More 
original still is the pattern of the field, which is divided by nar¬ 
row bands into two large, star-shaped devices enclosing mystic 
swastikas; the general effect is that of a panel composed of many 
tiles. The drawing of the birds (see head-band above) is char¬ 
acteristically Indian; and the shade of madder red, conspicuous 
in the coloration of this rug, is no less distinctive. 


10 











































III. TURKEY 

16 TURKISH. Armenia. Early XVII Century. 

Colors: Field: dull red ground; leaf forms forming compartments, 
indigo and ivory; dragon motives, light yellow, with details in blue, 
m/, brownish violet; palmettes, light and dark blue, yellow, 

red, etc. Border: ivory white, with pattern repeating field colors. 
Material: warp, cotton; weft and pile ,wool. Technique : Ghiordes 
knot, po to sq. in.; two undyed weft-threads inserted after each row 
of knots; selvage overcast. 

Size: L. 12ft., 7 in. W. 7ft., 6 in. Acc. No. 22.100.122. 



Rugs of this type are known as “dragon” carpets (see In¬ 
troduction, page xxii). They were woven presumably in Ar¬ 
menia or, possibly, in the boundary region of northwestern 
Persia. They are characterized by vigorous color and boldness of 
pattern. The dragon motive (see drawing), derived more or less 
directly from China, is not so highly stylized here as in No. 17; in 


11 

















THE BALLARD COLLECTION 

the latter rug, the “dragon ” has been conventionalized to a point 
where the form is scarcely recognizable. Of these two “dragon ” 
rugs No. 16 is probably somewhat earlier than No. 17; it may 
date from the end of the sixteenth century. The “trellis ” frame¬ 
work, the large palmettes, and the animal motives show Persian 
influence; the border is much less archaic in appearance than the 
field pattern (see head-band, p. 67). 


17 TURKISH. Armenia. XVII Century. 

Colors: Field: deep blue ground; serrated bands and leaf forms 
in white and red; dragon motive, yellow with details in red and blue; 
palmettes and rosettes, white and yellow, with details in green, red, 
violet, and blue. Border: yellow, repeating colors of the field. 
Material: all wool. Technique: Sehna knot, 81 to sq. in.; two 
undyed weft-threads inserted after each row of knots; selvage, weft, 
two cords. 

Size: L. 15ft., 2 in. IV. 7 ft., 2 in. Acc. No. 22.100.119. 

In this “dragon” carpet, the “trellis” framework of long, 
narrow leaves differs from No. 16 in that the scale is larger and 
the lozenge-shaped fields intersect. If the strange figures, alter¬ 
nating with palmettes in the areas defined by the leaves, are 
compared with the analogous motives in No. 16, it will be seen 
that they are intended to represent dragons; without this help, 
identification would be difficult. 


18 TURKISH. Asia Minor. So-Called “Damascus” Type. 

Early XVI Century. 

Colors: Field: deep red ground; central medallion, greenish blue 
and red, details in yellow; corner quadrants, olive green. Border: 
blue-green ground; compartments, red and blue; pattern repeating 
colors of the field. Material: all wool. Technique: Sehna 
knot, 144 to sq. in.; four red weft-threads inserted after each row 
of knots. 

Size: L. 9 ft., 2 in. TV. 6ft., j in. Acc. No. 22.100.y2. 

For a discussion of these so-called “Damascus” rugs and re¬ 
lated types (Nos. 18 to 24), see the Introduction, page xxi. It is 


12 


TURKISH RUGS 


believed that these rugs were woven at a Turkish court manufac¬ 
tory in Asia Minor. This is a remarkably 
fine example, although fragmentary, of the 
elaborate “Damascus” rugs of geometric char¬ 
acter; the large central star, the tile-like smaller 
panels, the delicate linear ornament, the bor¬ 
der design of alternating medallions and elon¬ 
gated panels are typical. An unusual motive, 
twice repeated, shows a palm tree flanked by 
cypresses (see drawing). The color scheme 
characteristic of these rugs is well exempli¬ 
fied in this specimen. 



TURKISH. Asia Minor. XVI Century. 

Colors: Field: deep red ground; central medallion , green; corner 
quadrants , deep blue; details in yellow , light blue , light green , and 
indigo. Border: repeating field colors. Secondary stripes , light 
green. Material: warp, silk; weft andpile, wool. Technique: 
Sehna knot, 284 to sq. in.; two red weft-threads inserted after each 
row of knots. 

Size: L. 13ft., 9 in. IV. 8ft. Acc. No. 22.100.3y. 



This and the following numbers, 20 to 24, come presumably 
from the same Turkish court manufactory as No. 18, a charac¬ 
teristic example of the so-called “Damascus” rugs (see Intro¬ 
duction, page xxi). They are, however, quite different in their 
floral patterns, which combine palmettes and rosettes borrowed 
from Persian art with the semi-naturalistic flora—the tulips, 
pinks, hyacinths, and other blossoms—of Asia Minor faience of 
the so-called “Rhodian” type. The central medallion (see 
drawing) and corner quadrants are distinctive of this type 0/ 

13 











THE BALLARD COLLECTION 

rug; in texture, color, and exquisite design such carpets as Nos. 
19, 20, and 21 are rivaled only by the finest Persian weaves. 

20 TURKISH. Asia Minor. XVI Century. 

Colors: Field: light red ground; central medallion, green; corner 
quadrants and small medallions, deep blue; leaves and small pal- 
mettes in green, yellow, and light blue. Border: field colors 
repeated. Material: all wool. Technique: Ghiordes knot, 81 
to sq. in.; three undyed weft-threads inserted after each row of knots; 
cord, selvage. 

Size: L. 16ft., // in. W. 9ft., 7 in. Acc. No. 22.100.y6 . 



The light-colored ground of this superb carpet is unusual; 
the ground in rugs of this type is usually a claret red, as in Nos. 
19 and 21. The central medallion scheme with corner quadrants 
is the same as in No. 19; but the floral motives are disposed in a 
more open pattern and the border design of shield-like compart¬ 
ments combined with sprays of flowers, although reminiscent 
of Persian models, is developed along more original lines (see 
drawing). 

21 TURKISH. Asia Minor. 

Late XVI or Early XVII Century. 

Colors: Field: deep red ground; corner quadrants, deep blue with 
pattern in olive green, yellow, deep blue, and ivory white. Border: 
field colors repeated. Material: all wool. Technique: Selina 
knot, 224. to sq. in.; two red weft-threads inserted after each row of 
knots; selvage overcast. 

Size : L. // ft., 4 in. IV. 9 ft., 7 in. 

14 


Acc. No. 22.100.yy . 











TURKISH RUGS 


This carpet is incomplete; the central portion, probably with 
the large medallion customary in rugs of this type, is missing. 
The same floral motives as in Nos. 19 and 20 occur in the pattern 
of this rug. New features are the large, curving leaves in the 
field design, the “Chinese clouds” in the border; both are de¬ 
rived from Persia; the former may have been suggested by 
Herat carpets of the so-called “Ispahan” type. Note also in 
the corner quadrants, as in the central medallion of No. 19, the 
cloud or tiger stripe often combined with three balls as the 
cloud and moon motive. In this instance the three balls (badge 
of Timur) appear in the guard stripes. (See also No. 33.) 

22 TURKISH. Asia Minor. First Half of XVII Century. 

Colors: Field: deep red ground; central medallion, green; corner 
quadrants, blue; details in yellow, ivory white, green, and red. 
Border: field colors repeated. Material: #// wool. Technique: 
Sehna knot, 120 to sq. in.; six weft-threads inserted after each row 
of knots, only three visible on the surface . 

Size: L. 5ft., 9 in. IV. 4ft. Acc. No. 22.100.54. 

In this rug the long curving leaves, noted in No. 21, are now 
given great prominence. The central medallion and corner quad¬ 
rants of the floral carpets are retained, but the floral motives 
are reduced to the conventional palmette. 

23 TURKISH. Asia Minor. First Half of XVII Century. 

Colors: Field: deep red ground; pattern, yellow-green, light blue, 
and dark blue. Border: field colors repeated. Secondary stripes, 
yellow-green, red, and blue. Material: all wool. Technique: 
Sehna knot, 180 to sq. in.;four weft-threads inserted after eachrow 
of knots, only two visible on the surface. 

Size : L. 6ft., 2 in. IV. 4ft. Acc. No. 22.100.53. 

In this carpet only a suggestion remains of the compositional 
scheme of the early floral carpets. The field is now patterned 
with palmettes and curving leaves which suggest the influence 
of the Herat carpets from eastern Persia. 

24 TURKISH Asia Minor. First Half of XVII Century. 

Colors: Field: central panel, green; side panels, red; pattern, 
ivory white and yellow, olive green, blue, with details in daik green 


THE BALLARD COLLECTION 

and red. Border: light blue ground, repeating colors of the field. 
Material: warp, silk; weft and pile, wool. Technique: Ghior- 
des knot, 306 to sq. in.; two red weft-threads inserted after each row 
of knots; selvage overcast. 

Size: L. 5 ft., 6 in. IV. 4ft., 2 in. Acc. No. 22.100.31. 

The beautiful border design (see head-band, page 11) of this 
prayer rug relates it to such floral carpets from the Turkish court 
manufactory as Nos. 19, 20, and 21. This pattern is the original 
of a border design frequently found on Ghiordes rugs of the 
seventeenth and eighteenth centuries; see, for example, Nos. 
52-56. In these Ghiordes rugs, however, the borrowed design is 
considerably simplified and has lost the exquisite delicacy in 
detail of the earlier versions. 

25 TURKISH. Asia Minor. Ushak. XVI Century. 

Colors: Field: indigo ground; medallions, red; motives, dull yel¬ 
low, greenish blue, ivory white. Border: red ground; small pat¬ 
tern, greenish blue and yellow. Material: all wool. Tech¬ 
nique: Ghiordes knot, 72 to sq. in.; two red weft-threads inserted 
after ea h row of knots; selvage overcast. 

Size: L. 9ft., 10 in. W. 6ft., <? in. Acc. No. 22.100.11y. 

The pattern of this fine example of the so-called “Ushak” rug 
is a variant of the Turkish medallion type, presumably adapted 
from the north Persian medallion rugs. The color scheme and 
the rather coarse texture are characteristic. 

26 TURKISH. Asia Minor. Ushak. 

Late XVI-Early XVII Century. 

Colors: Field: brick red ground; large stars, indigo, yellow, and 
red; details in light green and white. Border: bright blue; pattern , 
red, green, pink, and tan. Secondary borders, red and yellow. 
Material: all wool. Technique: Ghiordes knot, 72 to sq. in.; 
two pink weft-threads inserted after each row of knots; selvage, 
four-cord weft. 

Size: L. 10ft., / in. IV. 5 ft., 8 in. Acc. No. 22.100.no. 

The field pattern of this typical “Ushak” rug illustrates the 
“star” motive (see drawing) which, in some form, is often found 

16 


TURKISH RUGS 


on rugs of this class. A large carpet patterned with many stars 
of similar form, owned by the Earl of Dalkeith, bears the date 
1584. Rugs with this pattern were woven from about the 
middle of the sixteenth to the middle of the seventeenth century. 



27 TURKISH. Asia Minor. Ushak. 

Late XVI— Early XVII Century. 

Colors: Field: brownish red ground; large star, indigo outlined 
with white; details, yellow, red, light blue. Border: dark brown 
or black ground; pattern, field colors repeated. Material: all 
wool. Technique: Ghiordes knot, g2 to sq. in.; two red weft- 
threads inserted after each row of knots; selvage overcast. 

Size: L. 5 ft., 9 in. IV. 4ft. Acc. No. 22.100.11y. 

This is an unusual example of the star pattern “Ushak,” one 
large central star replacing the usual group of three or more. 
The border design (see drawing) is a popular one (cf. Nos. 28 
and 29). 



28 TURKISH. Asia Minor. Ushak. 

Late XVI-Early XVII Century. 

Colors: Field and border, red; pattern, yellowish tan, gray-green, 
pink, deep blue, and white. Material: all wool. Technique: 
Ghiordes knot, ijo to sq. in.; two red weft-threads inserted after 
each row of knots. 

Size : L. 5 ft., 9 in. IV. j ft., 6 in. 


Acc. No. 22.100.109. 





THE BALLARD COLLECTION 

An unusual type, but the border design (cf. with No. 27) and 
the star motive in the center of the field permit this prayer rug 
to be associated with the star pattern “Ushaks.” 

29 TURKISH. Asia Minor. Ushak. 

Late XVI-Early XVII Century 

Colors: Field: bright red ground; central medallion, gray-green; 
triangular motives, bright blue; details in light yellow, ivory white, 
and black. Border: black ground; pattern, yellow, pink, and blue . 
Inner border , and white. Material: warp and weft, cotton; 

pile, woo/. Technique: Ghiordes knot, 7^ to sq. in.; two red weft- 
threads inserted after each row of knots; selvage overcast. 

Size: L. 5//. W. 3 ft., // /». Acc. No. 22.100.114. 

The border design, central star motive, col¬ 
or, and texture of this prayer rug relate it to 
No. 28. It has been suggested that the step¬ 
ped triangular motives in the field (see draw¬ 
ing) may represent pulpits in a mosque. On 
the other hand, they may be only spandrel 
designs, reversed and placed in the field of the 
niche instead of outside it. 

30 TURKISH. Asia Minor. Ushak. Early XVII Century. 

Colors : Field: bright red ground, bordered with light blue. Border: 
yellow and red grounds, patterned in light yellow, white, blue, and 
light green. Material: all wool. Technique: Ghiordes knot, 
36 to sq. in.; two red weft-threads inserted after each row of knots; 
selvage, two-cord weft. 

Size: L. 5 ft., 9 in. IV. 4ft., 5 in. Acc. No. 22.100.89. 

Although derived from such prayer rugs as Nos. 28 and 29, 
the balanced composition of this rug has no special significance. 

31 TURKISH. Asia Minor. Ushak. 

Second Half of XVI Century. 

Colors: Field: red ground; pattern, yellow, with details in two 
shades of blue and pink, outlined in black. Border: deep blue 
ground; pattern, colors of field. Outer border: red. Material: 
warp, goafs hair; weft and pile, wool. Technique : Ghiordes knot, 

18 





TURKISH RUGS 


176 to sq. in.; two red weft-threads inserted after each row of knots; 
selvage overcast. 

Size: L. j ft. W.3ft., 5 in. Acc. No. 22.100.11j. 

This unusual prayer rug has a field pattern, repeating the 
border motive, in which the outline of a mihrab or prayer niche 
is inconspicuously introduced. 

32 TURKISH. Asia Minor. Ushak. 

Second Half of XVI Century. 
Colors: Field: deep red ground; pattern, two shades of blue, red, 
and yellow. Border: indigo; pattern, red, blue, yellow-green, and 
white. Inner band, blue with red pattern. Outer band , m/ zc/7/z 
blue pattern. Material: all wool. Technique: Ghiordes knot, 
/<?/ to sq. in.; two red weft-threads inserted after each row of knots; 
selvageffour-cord weft. 

Size: L. Jft., 10 in. W. jft., 9 in. Acc. No. 22.100.111. 

In prayer rugs of this type the 
mihrab, decorated with cloud-bands 
(see drawing), is repeated at each 
end for symmetry. The similarity 
between the border design of this 
carpet and that on No. 31 indi¬ 
cates a relationship with the so- 
called “Ushak’’ group. Rugs of 
this type appear in European paint¬ 
ings dating from the mid-sixteenth 
to the early seventeenth century. 

33 TURKISH. Asia Minor. Late XVI Century. 

Colors: Field: tan ground; black spandrels; pattern of central 
medallion, black and gray; spandrel pattern, blue and tan. Bor¬ 
der: black; guard bands, red; pattern, gray, blue, tan, and red. 
Material: all wool. Technique: Ghiordes knot, 2og to sq. in.; 
two red weft-threads inserted after each row of knots; selvage, three- 
cord weft. 

Size: L. j ft., 4 in. W. j ft., 5 in. Acc. No. 22.100.12j. 

As in No. 32, this remarkable prayer rug has two mihrabs 
placed symmetrically at opposite ends of the field. The span- 








THE BALLARD COLLECTION 


drels are unusually intricate in outline, and their pattern is 
keyed in strong contrast to the field color. The tulip and car¬ 
nation motives in the corners of the border and the clouds and 
disks (sometimes called “badge of Timur’’) in the guard stripes 
(see drawing) resemble the ornament on Asia Minor faience of 
the sixteenth and seventeenth centuries. Verses from the Koran 
occur in the border panels, but as they were not sufficient to 
fill the bottom panel and part of the side panels, the inscription 
is completed by simulated letters of a lapidary character. 

The Arabic inscriptions on this rug are taken from the second 
chapter of the Koran. 1 

Panels. Lower right: Allah is He besides whom there is no 

god, the Ever-living, the Self-subsisting 
by whom all subsist; slumber does not 
overtake Him nor sleep; 

Upper right: whatever is in the heavens and what¬ 
ever is in the earth is His; who is he that 
can intercede with Him but by His 
permission ? 

He knows what is before them and what 
is behind them, and they cannot com¬ 
prehend 

anything out of His knowledge except 
what He pleases; 

His knowledge extends over the heavens 
and the earth and the preservation of 
them both tires Him not, and He is the 
Most High, the Great. 


Above: 

Upper left: 
Lower left: 



34 TURKISH. Asia Minor. Late XVI-Early XVII Century. 

Colors: Field: white ground; spandrels and borders , light yellow; 
pattern , yellow , red, and olive green . Inscriptions: olive green on 

The Holy Qur-an. Maulvi Muhammed All, M.A., LL.B. p. 119. The 
“Islamic Review” office, Woking, Surrey, England. 1917. 


20 



TURKISH RUGS 


white. Material: warp, silk; weft and pile, wool. Technique: 
Ghiordes knot, /o ^<7. /».; two undyed weft-threads inserted after 

each row of knots; selvage, three-cord weft. 

Size: L. 5 ft., 10 in. W. j ft., 10 in. Acc. No. 22.100.pj . 

This rug is most unusual in several respects. The hanging 
lamp (cf. with the fourteenth-century, enameled glass, Syro- 
Egyptian mosque lamps in the Museum collection) and the 
large pricket candlesticks in the prayer niche are represented 
more realistically than is customary in the old prayer rugs. 
Unlike most of the rare Turkish prayer rugs of the sixteenth cen¬ 
tury, in which strong, bright colors predominate, the ground of 
the prayer niche and of the border panels is white, a detail which 
associates this rug with the “bird” and the “cloud and moon” 
carpets of the late sixteenth or early seventeenth century (see 
No. 35). 

In its ornament, however, this rug appears to have been in¬ 
fluenced by the “Damascus” and floral carpets of the supposed 
Turkish court manufactory established in Asia Minor, perhaps 
near Brusa. The alternation of circular and oblong panels (but 
without inscriptions) is a favorite scheme in the border patterns 
of the so-called “Damascus” carpets; and this type is again 
recalled by the thin, linear ornament on the narrow panel above 
the niche. 

The tulip, carnation, and hyacinth sprays in the spandrels, 
linked by a “Chinese cloud-band” over the hanging mosque 
lamp, although more angular in rendering, remind one of the 
floral ornament of such medallion carpets as Nos. 19 and 20. 
Compare also with the prayer rug, No. 24. It is not suggested 
that this white-ground prayer rug comes from the same factory, 
but the analogies noted would seem to indicate that the beautiful 
floral carpets, presumably woven for the Turkish court, inspired 
the designers of other centers. 

The Arabic inscriptions in the border include the names of 
Allah, Mohammed, and four Kalifs, and a chapter (CII) from 
the Koran entitled “The Multiplication of Wealth.” 1 

iThe Holy Qur-an. Maulvi Muhammed Ali, M.A., LL.B. p. 1219* The 
“Islamic Review Office,” Woking, Surrey, England. 1 9 1 7 * 


21 


THE BALLARD COLLECTION 


Medallions. Above, reading from right to left: Allah, Mo¬ 
hammed. 

Center, left: Abu Bakr; right: Ali. 

Below, left: Osman; right: Omar. 

Panels. Above: In the name of Allah, the Beneficent, 

the Merciful. 

Abundance diverts you, Until you come 
to the graves. 

Nay! you shall soon know. Nay! Nay! 
you shall soon know. 

Nay! if you had known with a certain 
knowledge, 

Lower right: You should most certainly have seen 

hell; Then you shall most certainly see 
it with the eye of certainty; 

Upper right: Then on that day you shall most cer¬ 
tainly be questioned about the boons. 


Upper left: 
Lower left: 
Below: 


35 TURKISH. Asia Minor. Late XVI-XVII Century. 

Colors: Field: cream white ground; pattern in two shades of tan 
and red-brown, with occasional details in blue. Border of the same 
colors; cloud-bands, red-brown and olive green. Material: all 
wool. Technique: Ghiordes knot, 72 to sq. in.; two undyed weft- 
threads inserted after each row of knots; selvage , three-cord weft. 
Size: L. // ft., 1 in. W. 5 ft., // in. Acc. No. 22.100.127. 

No finer example is known of the so-called 
“bird” rugs (see Introduction, page xix). 
The white ground is unusual among Turkish 
rugs. It has been suggested that this color 
scheme was a concession to European taste, the exportation of 
Turkish carpets to Europe having attained considerable pro¬ 
portions in the sixteenth and seventeenth centuries. The “bird” 
motive (see drawing) may be a stylized leaf form. 



36 TURKISH. Asia Minor. Late XVI-Early XVII Century. 

Colors: Field: red ground; pattern , indigo and white with details 
in light blue. Border: light blue ground; pattern, terracotta and 
white. Material: all wool. Technique: Ghiordes knot, 6 j to 


22 





TURKISH RUGS 


sq. in.; two pink weft-threads inserted after each row of knots; 
selvage, two-cord weft. 

Size: L. 7 ft., ^ in. W. 4ft., 3 in. Acc. No. 22.100.116. 

The all-over geometrical pattern of the field in this rug is not 
dissimilar in a general way to a carpet in the Victoria and Albert 
Museum, London, which is believed to have been woven in 
England, but in imitation of a Turkish pattern; it bears the 
date 1603. The pattern of No. 36 may be a late development 
of the so-called “Holbein” rugs; note, for example, the use of 
little “mosaic cubes” of white. 

37 TURKISH. Asia Minor. XVII Century. 

Colors: Field: red ground; pattern, yellow with details and occa¬ 
sional outline in bright blue. Border: indigo; pattern, repeating 
field colors. Material: all wool. Technique: Ghiordes knot, 
72 to sq. in.; two pink weft-threads inserted after each row of knots. 
Size: L. 3ft., 8 in. W. 4ft. Acc. No. 22.100.112. 

The field pattern and the color of this rug are typical of a 
large class of Asia Minor rugs, related to the “Ushak” group, 
that were frequently exported during the sixteenth and seven¬ 
teenth centuries, and of which there are numerous reproductions 
in European paintings. The compartment design of the border, 
which is less common than the simulated Kufic letter pattern 
usually found in rugs of this type, indicates a date in the seven¬ 
teenth century. 

38 TURKISH. Asia Minor. First Half of XVII Century. 

Colors: Field: deep red ground; pattern, blue, tan, violet, and 
light pink. Border: light blue; field colors repeated in pattern. 
Material: all wool. Technique: Ghiordes knot, 99 to sq. in.; 
two weft-threads inserted after each row of knots. 

Size: L. 7 ft., 3 in. IV. 2 ft., // in. Acc. No. 22.100.8. 

The field pattern appears to be a Turkish adaptation of the 
Persian “vase” carpet type (see No. 8). The border designs 
are also derived from Persian models. The coloration is dis¬ 
tinctly Turkish, and the lilies and carnations in the field pattern 
are further evidence of an Asia Minor origin. 

Part of the main border and the outer guard band are missing. 

23 


THE BALLARD COLLECTION 

39 TURKISH. Asia Minor. Ladik. XVII-XVIII Century. 

Colors: Field: red ground; spandrels and main border, deep blue; 
upper panel, red; pattern, tan, greenish blue, red, and white. 
Material: all wool. Technique: Ghiordes knot, 81 to sq. in.; 
two red weft-threads inserted after each row of knots; selvage, two- 
cord weft. 

Size: L. 5ft., 8 in. IV. 4ft. Acc. No. 22.100.62. 

The prayer rugs from the neighborhood of Ladik (Laodicea) 
have several distinctive features: a broad panel, either above or 
below the field, framing five stalks of lilies (see tail-piece of 
Index) that rise from so-called “vandykes” or mihrab arches; 
a prayer niche with a three-pointed arch (for characteristic arch 
see No. 41). Red and blue predominate among the colors, 
although there is a liberal use of other hues. The elaborate 
architectural details of the triple mihrab are rendered with 
an unusual realism. 

40 TURKISH. Asia Minor. Ladik. XVII-XVIII Century. 

Colors: Field: red ground; spandrels and dividing bands, indigo. 
Border: yellowish tan; pattern, deep greenish blue, red, bright 
blue, tan, and white. Material: all wool. Technique: Ghior¬ 
des knot, no to sq. in.; two pink weft-threads inserted after each 
row of knots; selvage weft . 

Size: L. 6ft., j in. IV. 4ft., 6 in. Acc. No. 22.100.6y. 

Although the three panels of the field design terminate at 
each end in the triple arch typical of the Ladik prayer rug, it 
may be doubted whether the pattern of this rug has any special 
significance. 

41 TURKISH. Asia Minor. Ladik. XVII-XVIII Century. 

Colors: Field: light blue ground; spandrels and end payiel with 
inner guard band, yellow; “vandykes,” violet outlined with white; 
lilies, light blue; details in red, yellow, white, and violet. Border: 
blue ground; outer guard bands, white; pattern, field colors repeated. 
Material: all wool. Technique: Ghiordes knot, pp to sq. in.; 
two pink weft-threads inserted after each row of knots; selvage, two- 
cord weft. 

Size : L. 6 ft., 8 in. IV. j ft., y in. 

24 


Acc. No. 22.100.64. 


TURKISH RUGS 


This is an exceptionally fine and characteristic example of the 
Ladik prayer carpet. The border design of rosettes and lilies 
(see drawing) is a typical Ladik pattern. This specimen is par¬ 
ticularly beautiful in color. 



42 TURKISH. Asia Minor. Ladik. 1794. 

Colors: Field: gray ground; spandrels and lower panel, red; “ van- 
dykes” yellow; lily motives, blue-green; details in white, violet, and 
blue. Main border: blue; inner guard stripe, violet; outer stripe, 
red; pattern, field colors repeated . Material: all wool. Tech¬ 
nique: Ghiordes knot, <y6 to sq. in.; two weft-threads inserted after 
each row of knots; selvage, two-cord weft. 

Size: L. 6ft., 6 in. W. 3 ft., 9 in. Acc. No. 22.100.61. 

In the octagon which replaces the customary mosque lamp 
in the apex of the prayer niche is a date corresponding to 1699 
(so given by F. R. Martin, who illustrates this prayer rug in his 
Oriental Carpets, page 130, fig. 340), but the date appears to 
have been altered by restoration, and should read 1794 according 
to W. Grote-Hasenbalg (Die Orientteppich, page 79). 

Both the main border and the secondary stripes are distinctive 
Ladik patterns, as are also the so-called “Vandykes’’ and lily 
stalks in the lower panel; but the prayer niche differs from the 
usual Ladik type. 

43 TURKISH. Asia Minor. Ladik. XVIII Century. 

Colors: Field: red ground; spandrels, bright blue; lower panel, 
red; pattern, red, light green, violet, blue, and white. Main border, 
yellow. Inner guard band, black; outer guard band, light violet. 
Pattern repeating field colors. Material: all wool. Technique: 
Ghiordes knot, 128 to sq. in.; two pink weft-threads inserted after 
each row of knots; selvage, two-cord weft. 

Size: L. 6ft. W. 3 ft., 10 in. Acc. No. 22.100.63. 

As in No. 42, the shape of the mihrab in this prayer rug is 
not typical, resembling more the mihrabs associated with the 

2 5 






THE BALLARD COLLECTION 


Kir-Shehr and Mujur prayer rugs (see No. 74). In other re¬ 
spects this rug, which is very similar to No. 42, is a thoroughly 
characteristic Ladik weave. 


44 TURKISH. Asia Minor. Bergama. 

Early XVII Century. 

Colors: Field: indigo ground; spandrels, bright red with blue- 
green scrolls; pattern, bright red, light yellow, and white. Border: 
red ground; compartments, white, tan, and two shades of blue, all 
outlined in black and white; guard bands, black with red pattern . 
Material: <2// woo/. Technique: Ghiordes knot, /oo /o jy. /».; 
/wo undyed threads inserted after each row of knots; selvage over¬ 
cast. 

Size: L. 6ft., 2 in. IV. 4ft. Acc. No. 22.100.g0. 

This is a characteristic example of the rugs assigned to the 
district of Bergama and sometimes called “Transylvanian” or 
“Siebenburger” rugs, as many weaves of this type come from 
Transylvania. The Bergama prayer rugs usually have the niche 
at either end for reasons of symmetry. In the finest early ex¬ 
amples, such as this and the three following numbers, the field 
is ornamented with suspended mosque lamps from which issue 
angularly conventionalized flowers, and the main border is com- 
. posed of eight-pointed stars alternating with elongated panels. 
Note the arabesque designs in the spandrels; in the later rugs 
they are replaced by conventional floral ornament. 


45 TURKISH. Asia Minor. Bergama. 

Early XVII Century. 

Colors: Field: white ground; spandrels, light red, with black scrolls 
outlined with white; pattern, bright blue, light red, yellow, and black . 
Border: yellow ground; elongated panels, white with red palmettes; 
star motive, white on blue; all outlined in black and red. Second¬ 
ary stripes, reciprocal trefoil in red and black, outlined with white . 
Material: all wool. Technique: Ghiordes knot, 130 to sq. in.; 
one undyed weft-thread inserted after each row of knots; cord sel¬ 
vage. 

Size: L. 6ft., 4 in. IV. 4ft. Acc. No. 22.100.g2 . 

26 


TURKISH RUGS 


This is an exceptionally fine specimen of the prayer rugs from 

Bergama (the ancient Pergamon). 
That it is an early example, perhaps of 
the late sixteenth century, is shown by 
the fine star and panel design of the 
border (see head-band, page v), the 
arabesques in the spandrels, and the 
lack of confusion in the field ornament. 
A prayer rug with only one mihrab is 
unusual among the “Bergamas.” A 
mosque lamp (see drawing) is represented suspended from the 
apex of the prayer arch. For reciprocal trefoil see drawing. 




46 TURKISH. Asia Minor. Bergama. XVII Century. 

Colors: Field: light yellow ground outlined with white; spandrels, 
violet; pattern, white, yellow , red, and blue. Border: same color 
as the field; elongated panels, white; palmettes and star motives in 
red, violet, and light yellow. Secondary borders, reciprocal trefoil, 
black and red outlined with white. Material: all wool. Tech¬ 
nique: Ghiordes knot, go to sq. in.; two pink weft-threads inserted 
after each row of knots; selvage, three-cord weft. 

Size: L. 6ft ., 5 in. W. 4ft., 6 in. Acc. No. 22.100.86. 

Although the border design of this prayer rug is of the type 
associated with early examples, the floral motives in the span¬ 
drels suggest a somewhat later date than that of the two rugs 
preceding. 

47 TURKISH. Asia Minor. Bergama. 

XVII-XVIII Century. 

Colors: Field: bright red ground; central medallion, bright blue; 
corner quadrants, light yellow; pattern, light red, light blue, yellow, 
and white. Border: ground, the same red as the field; secondary 
stripes, white; floral disks, light yellow, black, white, and two shades 
of blue. Material: all wool. Technique: Ghiordes knot, 100 

27 

















THE BALLARD COLLECTION 

to sq. in.; two red weft-threads inserted after each row of knots; sel¬ 
vage , two-cord weft. 

Size: L. 3ft.,3 in. IV. 4ft., 3 in. Acc. No. 22.100.(31. 

The floral motives in the border and spandrels and the change 
in the manner of decorating the field (note the omission of the 
lamps) indicate that this prayer rug is later in date (probably 
eighteenth century) than the three examples preceding. 

48 TURKISH. Asia Minor. Bergama. XVIII Century. 

Colors: Field: deep red ground; medallions and central leafforms, 
deep blue; large leaf forms, yellow; details in red-violet, light blue, 
white, and yellow. Border: yellowish tan; guard bands, red field; 
pattern, red-violet, blue, red, and white. Red and blue web. Ma¬ 
terial: all wool. Technique: Ghiordes knot, 100 to sq. in.; 
two brown weft-threads inserted after each row of knots; selvage, 
three-cord weft. 

Size: L. 7ft., 1 in. IV. 3ft., 2 in. Acc. No. 22.100.87. 

A type of Bergama rug different from the preceding examples 
is illustrated by this specimen. The angular leaf and palmette 
motives in the field pattern, although much larger in scale, show 
a “family resemblance” to such rugs as Nos. 44-46, but the 
rug is much later than the severity of these bold, rectilinear 
figures might, at first glance, suggest—the border is unmistak¬ 
ably an eighteenth-century design. The four little ewers placed 
at intervals across the middle of the field are a novel feature. 

49 TURKISH. Asia Minor. Bergama (?). Konia (?). 

XVIII Century. 

Colors: Field: deep red ground; corner sections, deep blue; pat¬ 
tern, light blue, white, and red, with details in deep blue and brown. 
Border: light yellow; pattern, red, with details in blue, white, 
and brown. Material: all wool. Technique : Ghiordes knot, 81 
to sq. in.; two pink weft-threads inserted after each row of knots; 
selvage, two-cord weft. 

Size: L. 6ft., 2 in. JV. 3ft., 2 in. Acc. No. 22.100.88. 

In its field design this rug is related to the Bergama group, 
but the border is unusual and suggests that a rug of the Ber- 

28 



TURKISH RUGS 


gama type may have been imitated at some other weaving cen¬ 
ters. The border occurs again on No. 50, where the field pat¬ 
tern has nothing to do with the Bergama type. 


50 TURKISH. Asia Minor. Konia. XVIII Century. 

Colors*. Field: deep terracotta ground; medallions , deep blue with 
red) white , and gray-green details. Border: light yellow; pattern, 
red) blue y and white) with brown outline; inner guard bands , light 
blue y red) and brown. Material: all wool. Technique : Ghiordes 

knot) go to sq. in.; two pink weft-threads inserted after each row of 
knots. 

Size: L. /oft., / in. W . Jft., 10 in. Acc. No. 22.100.82. 

The border (see drawing) is similar to that on No. 49. The 
roses and pinks which compose this attractive pattern resemble 
the floral ornament on Asia Minor faience of a type erroneously 
called “Rhodian”; hence this name is sometimes applied to the 
class of rugs of which No. 50 is representative. They appear, 
however, to have been woven in the neighborhood of Konia. 



51 TURKISH. Asia Minor. XVII Century. 

Colors: Field: white ground; spandrels and central medallion , 
blue with details in red, yellow , and brown. Border: alternate fields, 
red and blue with detail in field colors. Material: warp, cotton; 
weft and pile , wool. Technique: Ghiordes knot , gg to sq. in.; 
two undyed weft-threads inserted after each row of knots. 

Size: L. pft., 1 in. W. jft., 8 in. Acc. No. 22.100.10y. 

Several features in this rug recall the coloration and angular 
patterns of the Ushak and related groups (compare the span¬ 
drels with No. 33); the small all-over design is unusual. As a 
repetitive pattern is characteristic of Kula rugs and as the second¬ 
ary border design of this rug is one often found on the rugs of 
Kula and Ghiordes, No. 51 may perhaps be assigned to one or the 
other of these centers. 


29 








THE BALLARD COLLECTION 


52 TURKISH. Asia Minor. Ghiordes. XVII Century. 

Colors: Field: bright red ground; spandrels, blue with yellow 
scrolls. Border: deep blue; pattern, light tan and white, with de¬ 
tails in red, gray-green, and black; guard bands, gray-green between 
red stripes. Material: all wool. Technique: Ghiordes knot, dto 
/o j-y. /».; two red weft-threads inserted after each row of knots. 
Size: L. 6ft., p in. W. 4ft., 4 in. Acc. No. 22.100.8y. 



Although the lower cross-band usually found 
on Ghiordes prayer carpets is missing in this ex¬ 
ample, the characteristic border design and other 
indications permit this rug to be described as a 
Ghiordes. The beautiful border pattern shows 
the influence of the sixteenth-century Turkish flo¬ 
ral carpets (see No. 24). A floral motive is substituted for the 
mosque lamp sometimes represented in the arch of the mihrab. 
At the foot of the pilasters are two ewers (to recall the ablutions 
preceding prayer). The scrolling vine in the spandrels of the 
arch is an interpretation of a pattern frequently seen on tiled 
panels of this shape. 


53 TURKISH. Asia Minor. Ghiordes. 

XVII or Early XVIII Century. 
Colors: Field: bright red ground; spandrels, deep blue with white 
scrolls; tree motive, bright blue with white and tan. Border: yellow¬ 
ish tan; pattern, spandrel colors repeated. Material: wool with 
details in metal thread. Technique : Ghiordes knot, ip6 to sq. in.; 
two red weft-threads inserted after each row of knots. 

Size: L. 5 ft., 5 in. W. 4ft., 1 in. Acc. No. 22.100.106. 

In general design this prayer rug closely resembles the pre¬ 
ceding; note, however, the lower cross-panel in the field design 
and the introduction of a vase of flowers between the pilasters. 


54 TURKISH. Asia Minor. Ghiordes. 

XVII or Early XVIII Century. 
Colors: Field: bright red ground; spandrels, indigo with white 
scrolls; panels, light blue; pattern, red, white, tan, black, and blue. 
Border: yellowish tan; pattern, field colors repeated. Material: 

3 ° 


TURKISH RUGS 


all wool. Technique: Ghiordes knot, 247 to sq. in.; two red weft- 
threads inserted after each row of knots; selvage, three-cord weft. 
Size : L. 3ft., 3 in. IV. 4 ft., 2 in. Acc. No. 22.100.108. 

A feature which distinguishes this prayer rug from the num¬ 
bers preceding is the representation of a mosque lamp, instead 
of a floral spray, hanging in the arch of the mihrab. The treat¬ 
ment is realistic; one may note the balls and chains supporting 
the glass lamp which encloses the little cup holding the oil and 
wick. The designer has not been consistent, however, for at¬ 
tached to the bottom of the lamp is an inverted ewer terminating 
in a floral ornament. 

55 TURKISH. Asia Minor. Ghiordes. 

XVII-XVIII Century. 

Colors: Field: olive tan ground; central diamond , brownish red; 
corner sections, bright blue; details in two shades of red and two 
shades of light blue with white outline. Border: olive tan, repeat- 
ing field colors in pattern; narrow stripes in bright blue , red, and 
white, with patterns repeating the field colors. Material: all 
wool. Technique: Ghiordes knot, 143 to sq. in.; two red weft- 
threads inserted after each row of knots; selvage, three-cord weft. 
Size: L. 8ft ., 9 in. W. 3ft., 9 in. Acc. No. 22.100.102 . 

In its border design this unusual rug is related to Nos. 52-54, 
but the field introduces a new type. Conspicuous in the crowded 
pattern of the field is a device composed of two S-shaped figures 
—for the most part, facing in opposite directions so as to form a 
figure which resembles the pomegranate motive in the spandrels; 
but occasionally, either through inadvertence or with the inten¬ 
tion of varying the pattern, facing in the same direction. 

56 TURKISH. Asia Minor. Ghiordes. 

XVII-XVIII Century. 

Colors: Field: deep blue ground; corner sections, light blue; 
pattern, red, white, blue, and brown . Border: black ground; pat¬ 
tern repeating the colors of the field. Material: all wool. Tech¬ 
nique: Ghiordes knot, 140 to sq. in.; two pink weft-threads inserted 
after each row of knots; selvage overcast. 

Size : L. 3 ft., 4 in. IV. 4ft., 6 in. 

3 1 


Acc. No. 22.100.100. 


THE BALLARD COLLECTION 

The main field pattern is a development of the border design, 
which associates this rug with Nos. 52-55; the spandrels are or¬ 
namented with a pomegranate pattern as in No. 55. 

57 TURKISH. Asia Minor. Ghiordes. 

XVII-XVIII Century. 

Colors: Field: white ground; spandrels, black with tan scrolls; 
festoons in yellowish tan, pink, blue, and black; panel with inscrip¬ 
tion, tan and brown. Border: indigo ground; pattern, yellowish 
tan, blue, and white. Material: all wool. Technique: Ghior¬ 
des knot, 100 to sq. in.; two undyed weft-threads inserted after each 
row of knots; selvage, four-cord weft. 

Size: L. 5 ft., 10 in. IV. 4ft. Acc. No. 22.100.10j. 

The border pattern of delicate sprays of hyacinths combined 
with full-blown roses in this prayer rug (see drawing) is a less com¬ 
plicated design than the borders of the preceding Ghiordes rugs, 
but it is inspired by the same delight in floral ornament. Here, 
indeed, the pilasters of the prayer niche have been transformed 
into festoons of flowers, and a bouquet replaces the mosque lamp. 

This is one of the rare Ghiordes prayer carpets with inscrip¬ 
tions; it probably dates from the late seventeenth or early 
eighteenth century. A very similar rug is reproduced by Neuge- 
bauer and Orendi, Handbuch der Orientalischen Teppichkunde, 
Plate 2. In both rugs is the same inscription in the prayer niche: 
“I come before thy throne heavily laden with sin and pray that 
my sins and guilt may be forgiven me.” The inscription is in 
Turkish but contains a few Persian words. The rug illustrated 
by Neugebauer and Orendi has also an inscription in the narrow 
cross-panel above the niche, which may be translated: “My 
Lord, my august Padishah—May you be joyful and happy unto 
the days of the last judgment.” The latter half of this inscrip¬ 
tion is twice repeated in the cross-panel of No. 57. It is prob¬ 
able that these carpets were intended as presents for a sultan or 
some other dignitary. 



3 2 
























TURKISH RUGS 


58 TURKISH. Asia Minor. Ghiordes. 

XVII-XVIII Century. 
Colors: Field: bright red ground, with inscription in gray-green; 
light blue spandrels; pattern, light blue, two shades of red, tan, 
brown, and white. Border: deep tan; pattern, two shades of red, 
blue, white, and brown. Material: all wool. Technique: 
Ghiordes knot, go to sq. in.; two red weft-threads inserted after each 
row of knots; selvage, three-cord weft. 

Size: L. 5 ft., 2 in. JV. 4ft. Acc. No. 22.100.g6. 

The unusual feature of this rug, which has a border similar 
to No. 57, is the wavy outline of the prayer niche and the in¬ 
scription filling the field, which is usually unornamented in the 
Ghiordes type except by the mosque lamp, ewers, pilasters, and 
floral sprays, as shown in preceding examples. 

In the narrow panel above the niche is the Arabic inscription: 1 
Savagery, Syntheism, Sacredness. The long inscription in 
Arabic, Turkish, and Persian, which fills the prayer niche, reads: 
In Arabic: From the Grateful Ones (to God); (O God) those 
who engage in thy beautiful worship are delivered 
from the devils (evil spirits). Thou art He who 
bestoweth health upon, and preventeth the diseases 
from, the people of the two rivers (Mesopotamia) 
and the people of the mountains and of every habita¬ 
tion and locality. 

In Turkish: This prayer rug has been made with great skill and 
ornamented exquisitely; it resembles the beautiful 
and peerless verses of virtuous Saadi. It will be 
defiled by the feet of a tyrant, even if in his sleep 
he steps on it. 

In Persian: It is a place for (even) the dusty foot of any blessed 
poor Sheikh. 

59 TURKISH. Asia Minor. Ghiordes. XVIII Century. 

Colors : Field: deep blue ground; spandrels, terracotta; upper panel, 
black; lower panel, terracotta; pattern, yellowish tan, light blue, 
gray-green, red, and white, with black and white outlines. Bor- 

iThe inscriptions on this rug have been read by Dr. Abraham lohannan, of 
Columbia University. 


33 


THE BALLARD COLLECTION 


der: white ground; pattern, deep blue, yellowish tan, /r^/, and 
white, wi//z details in black and brown; secondary borders, black 
between white guard bands, with pattern repeating field colors. 
Material: all wool. Technique: Ghiordes knot, /jo /o jy. /».; 
/wo undyed weft-threads inserted after each row of knots; selvage, 
five-cord weft. 

Size: L. 5 ft., 8 in. JV. 4ft., 2 in. Acc. No. 22.100.g8. 

This prayer rug illustrates the typical 
form of Ghiordes prayer niche, although, 
as the preceding examples show, the type 
was subject to variations. The pome¬ 
granate border (see drawing) is a char¬ 
acteristic feature of the later Ghiordes 
rugs; compare the conventional, angular 
rendering with the delicate floral pattern of an early Ghiordes 
rug, such as No. 52. This is, however, a fine example of the 
type, vigorous in design and color, and may date from the late 
seventeenth century. 



60 TURKISH. Asia Minor. Ghiordes. XVIII Century. 

Colors: Field: deep blue ground; red spandrels; pattern, gray- 
green, white, brownish red, and black. Border: white; pattern, 
deep blue, red-brown, and gray-green. Secondary borders, gray- 
green, with pattern in brownish red and white, details in blue. 
Material: all wool. Technique: Ghiordes knot, 120 to sq. in.; 
two white weft-threads inserted after each row of knots; selvage, weft. 
Size: L. 6ft., 4 in. IV. 4ft., 4 in. Acc. No. 22.100.104. 


<si In this prayer rug, as in No. 59, the bor¬ 
der pattern repeats, with an alternation of 
color, a stiffly conventionalized floral or plant 
motive (see drawing), which occupies a space 
approximately square and resembles a design 
for a tile. The floral motive in this border 
is the pink. The S design in the upper cross¬ 
panel occurs frequently on Ghiordes rugs; also characteristic 
is the shape of the prayer niche and the delicate “fringe” of 
blossoms. 



34 





TURKISH RUGS 


61 TURKISH. Asia Minor. Ghiordes. XVIII Century. 

Colors: Field: Nile green ground; spandrels, white; upper panels 
indigo; lower panels white; pattern, gray-green, light blue, red, and 
white. Border: bright blue ground; secondary stripes, white; pat¬ 
tern on both, repeating field colors. Material: all wool. Tech¬ 
nique: Ghiordes knot, 130 to sq. in.; two red weft-threads inserted 
after each row of knots; selvage, silk, six-cord weft. 

Size: L. 5 ft., 8 in. IV. 4ft., 4 in. Acc. No. 22.iGO.py. 

Except in color, this prayer rug is very similar to No. 60. 

62 TURKISH. Asia Minor. Ghiordes. XVIII Century. 

Colors: Field: light gray and green ground; spandrels, white; 
upper and lower panels, brownish red; pattern, white, brownish 
red, and gray-green, with details in black. Material: warp and 
weft, cotton; pile, wool. Technique: Ghiordes knot, ip8 to sq. 
in.; two undyed weft-threads inserted after each row of knots; selvage 
restored. 

Size: L. 3ft., 6 in. W. 4ft., 1 in. Acc. No. 22.100.pp. 

In its tile-like effect, the main border of this prayer rug, re¬ 
peating a unit design of carnations and lilies, resembles Nos. 
60 and 61. Instead of the small, all-over designs filling the 
spandrels in these two rugs, there is a return to the scrolling vine 
pattern noted in No. 52. 

63 TURKISH. Asia Minor. Ghiordes. XVIII Century. 

Colors: Field: ivory white ground; spandrels, deep blue with white 
scrolls; upper panel, gray-green; lower panel, white; pattern, white, 
red, blue-green, and light blue. Border: dark brown ground; second¬ 
ary border, deep blue, between white guard bands; inner guard 
bands, light blue; pattern, field colors repeated, red and blue pre¬ 
dominating. Material: all wool. Technique: Ghiordes knot, 
135 to sq. in.; two red weft-threads inserted after each row of knots; 
selvage overcast. 

Size: L. 6ft. kV. 4ft., 4 in. Acc. No. 22.100.12p. 

The beautifully balanced colors in the elaborate border of this 
prayer rug, the deep blue of its spandrels, and the rich tones in 
the colors of the secondary border all indicate a weave of the 
eighteenth century. The main border has less of the tile effect 

35 


THE BALLARD COLLECTION 


than is found in some of the other rugs from this center (see 
No. 59). An interesting feature in the upper panel is the small 
“tomb” motive. 

64 TURKISH. Asia Minor. Ghiordes. XVIII Century. 

Colors: Field: gray-blue ground; spandrels, gray-green; upper 
panel, indigo; lower panels white; pattern, terracotta, gray-green, 
light blue, and white. Border: white; pattern repeating field colors; 
secondary stripe, indigo. Material: warp, wool; weft, cotton; 
pile, wool. Technique: Ghiordes knot, 195 to sq. in.; two weft- 
threads inserted after each row of knots; selvage overcast. 

Size: L. 5 ft., 6 in. IV. j ft., 8 in. Acc. No. 22.100.gy. 

In its ornate decoration this prayer rug is characteristic of 
eighteenth-century Ghiordes weaves. The elaborate patterns, 
however, prove an effective foil for the delicate robin’s egg blue 
of the prayer niche. Note that the pilasters are now reduced 
to mere decorative forms and have lost all architectural signifi¬ 
cance. The main border design closely resembles that of No. 62. 
For cross-panel see drawing. 



65 TURKISH. Asia Minor. Ghiordes or Kula. 

XVIII Century. 

Colors: Field: deep blue ground; spandrels, gray-green; pattern, 
brownish red, gray-green, and white. Main border: white and 
gray with pattern in brown and red; outer border, brown; pattern, 
field colors repeated; inner border, tan, brownish red, and light blue. 
Material: warp, cotton; weft and pile, wool. Technique: 
Ghiordes knot, no to sq. in.; two weft-threads inserted after each 
row of knots; selvage, three-cord weft. 

Size: L. 6ft., 1 in. IV. 4ft., 2 in. Acc. No. 22.100.10y. 

This prayer rug combines features of both Ghiordes and Kula 
types. Characteristic of the former is the shape of the prayer 
niche; of the latter, the narrow stripes composing the main bor¬ 
der. As these two rug centers are within fifty miles of each 
other, a mingling of patterns is not surprising. 

3 6 








TURKISH RUGS 


66 TURKISH. Asia Minor. Ghiordes or Kula. 

XVIII Century. 

Colors: Field: Nile green ground; spandrels, a deeper shade oj 
the same; pattern, red, deep blue, light blue, yellow, white; 

upper panel, deep blue; lower panel, field colors. Border: alter¬ 
nate stripes originally black and white; secondary borders, 
blue between red stripes. Material: warp and weft, cotton; pile, 
wool . Technique: Ghiordes knot, 126 to sq. in.; two undyed weft- 
threads inserted after each row of knots. 

Size: L. 3ft., 9 in. JV. pft., 2 in. Acc. No. 22.100.101. 

Like No. 65 this prayer rug combines what are usually con¬ 
sidered distinctive features of two different types of rugs; the 
border, composed of many narrow stripes, associates this rug 
with the Kula type, but the form of prayer niche is characteristic 
of Ghiordes rugs. Compare the pendent, inverted ewer with 
a similar representation on No. 54. 

67 TURKISH. Asia Minor. Kula or Ghiordes. 

XVIII Century. 

Colors: Field: deep red ground; spandrels and columns, light 
blue; upper panel, black; lower panel, light blue; pattern, red, yellow, 
and blue with details in black. Border: light blue; pattern, field 
colors repeated. Material: all wool. Technique: Ghiordes 
knot, 117 to sq. in.; two yellow weft-threads inserted after each row 
of knots; selvage, three-cord weft. 

Size: L. 6ft., 3 in. W. pft.,3 in. Acc. No. 22.100.83. 

The shape of the arch in this prayer rug associates it with 
Kula rugs, but the border is a Ghiordes pattern which may be 
seen in Nos. 62-64. 

68 TURKISH. Asia Minor. Probably Kula. 

XVIII Century. 

Colors: Field: deep red ground; spandrels and columns in light 
blue; pattern, tan, blue, red, and black. Border: deep blue; pattern 
repeating field colors. Material: all wool. Technique: Ghior¬ 
des knot, 117 to sq. in.; two yellow weft-threads inserted after each 
row of knots; selvage, two-cord weft. 

Size: L. 3ft., 10 in. IV. pft., 1 in. Acc. No. 22.100.8p. 

37 


THE BALLARD COLLECTION 


Judging from the shape of the prayer niche, this is a Kula 
rug, but the main border design is perhaps imitated from a 
Ghiordes model. 

69 TURKISH. Asia Minor. Kula. XVIII Century. 

Colors: Field: deep blue ground; spandrels and inner border, 
light blue; upper panel, reddish brown; pattern, tan, white, light 
blue, and red. Border: white; secondary borders, light tan; pat¬ 
terns repeating the colors of the field. Material: warp and weft, 
cotton; pile, wool. Technique: Ghiordes knot , 99 to sq. in.; two 
undyed weft-threads inserted after each row of knots; selvage, two- 
cord weft. 

Size: L. 6ft. W. 4ft., 1 in. Acc. No. 22.100.80. 

In the numerous border stripes patterned with small repeating 
units, in the shape of the prayer niche, and in the ornamentation 
of the field, this is a characteristic Kula prayer rug. The fes¬ 
toon in the niche, it will be observed, is composed of several 
minute hanging lamps from which issue clusters of eight-pointed 
stars, perhaps intended to symbolize the radiance of light. 

70 TURKISH. Asia Minor. Kula. XVIII Century. 

Colors: Field: indigo ground; spandrels, light blue; pattern, tan. 
Border: white ground; pattern, two shades of blue, two shades of 
tan; secondary borders, brown with blue and tan motives. Ma¬ 
terial: warp, cotton; weft and pile, wool. Technique: Ghiordes 
knot, 96 to sq. in.; two undyed weft-threads inserted after each row 
of knots; selvage overcast. 

Size: L. 5 ft., y in. W. j ft., 10 in. Acc. No. 22.100.81. 

Perhaps the most distinctive feature of the Kula group is the 
persistent use in its patterns of a single unit repeated in different 
colors—a type of design peculiarly adapted to the narrow stripes 
that are a marked characteristic of these weaves. 

71 TURKISH. Asia Minor. Kula. XVIII Century. 

Colors: Field: indigo ground; spandrels, bright blue; pattern, red, 
tan, and white. Border: tan and black, edged with blue; outer 
border, white between red bands. Material: all wool. Tech- 

38 


TURKISH RUGS 


nique : Ghiordes knot, 108 to sq. in.; two yellow weft-threads in¬ 
serted after each row of knots; selvage, two-cord weft. 

Size: L. 6ft., y in. W. 4ft. Acc. No. 22.100.yg. 

This prayer rug is an excellent example of 
the so-called “cemetery” carpet. This name 
is derived from the “tomb and tree” motive 
(see drawing) used as a repeating design in 
the held of the prayer niche. In other re¬ 
spects this carpet resembles the usual Kula 
type exemplified in Nos. 69 and 70. 

7 2 TURKISH. Asia Minor. XIX Century. 

Colors: Field: yellowish tan ground; pattern, dull blue, light blue, 
green, and two shades of red. Material: all wool. Technique: 
Ghiordes knot, 84 to sq. in.; two weft-threads inserted after each 
row of knots; selvage, two-cord weft. 

Size: L. 6ft., 10 in. W. 4ft. Acc. No. 22.100.94. 

This is another variety of the “cemetery” carpet type, 
dating about the middle of the nineteenth century. 

73 TURKISH. Asia Minor. XVII-XVIII Century. 

Colors: Field: dark red ground; spandrels, gray-blue with white 
scrolls; pattern, green, blue, red, and yellow. Border: white; pat¬ 
tern repeating field colors. Material: all wool. Technique: 
Ghiordes knot, /jo to sq. in.; two red weft-threads inserted after each 
row of knots; selvage, three-cord weft. 

Size: L. 4ft., 8 in. kV. j ft., 5 in. Acc. No. 22.100.y8. 

The distinctive feature of this unusual prayer rug, which re¬ 
sembles Kula and Ghiordes rugs in its border and spandrel pat¬ 
terns, is the elaborate vase in the prayer niche, holding sprays 
of hyacinths, tulips, roses, and carnations, which recall the 
floral motives in the so-called “Rhodian” faience. 

74 TURKISH. Asia Minor. Mujur. Early XIX Century. 

Colors: Field: light red ground; spandrels, green; pattern, green, 
yellow, violet, blue, and white. Border: yellow ground; pattern, 
red, green, blue, and violet. Material: all wool. Technique: 

39 



















THE BALLARD COLLECTION 

Ghiordes knot, 56 to sq. in.; two weft-threads of undyed wool inserted 
after each row of knots; selvage, weft. 

Size: L. 5 ft., 5 in. IV. 4ft., 2 in. Acc. No. 22.100.22. 

The shape of the prayer niche and the 
broad border pattern (see drawing) of this 
rug are typical of the Mujur prayer rugs, 
which show little or no variation in these re¬ 
spects. The pattern of the cross-panel 
above the prayer niche recalls the “van- 
dykes ” of Ladik rugs. These motives, some¬ 
times called “arrow-heads,” are derived from the arch of the 
prayer niche. Rugs of this type are made in the town of Mujur 
on the river Kisil-Irwak. 



75 TURKISH. Asia Minor. Melas. Early XIX Century. 

Colors: Field: light red ground; spandrels, white; pattern, red, 
light green, violet, and yellow. Border: yellow ground, repeating 
field colors in pattern. Material: all wool. Technique: 
Ghiordes knot, 88 to sq. in.; two weft-threads inserted after each row 
of knots; selvage, weft. 

Size: L. 5 ft., 5 in. kV. j ft., 8 in. Acc. No. 22.100.24. 

The Melas prayer niche, like the Konia type, is an angular 
version of the horseshoe arch. The small spotted leaf pattern 
that frames one of the inner borders is a typical Melas design; 
the geometric motives recall nomadic patterns. These prayer 
rugs are made in or near the town of Melassa, near the south¬ 
west coast of Asia Minor. 

76 TURKISH. Asia Minor. Melas. 

Early XIX Century. 
Colors: Field: deep blue ground; eight-pointed field, crimson; 
central medallion, blue, white, and red. Border: brown, repeating 
field colors in pattern. End panels, brownish red; pattern, blue, 
red, white, and brown. Material: all wool. Technique: 
Ghiordes knot, go to sq. in.; two weft-threads of undyed wool in¬ 
serted after each row of knots; selvage, weft. 

Size : L. 6 ft., 2 in. IV. 4ft., 5 in. 


40 


Acc. No. 22.100.2y. 



TURKISH RUGS 


The rugs of this group are widely different in design from other 
Asia Minor weaves, although the large central star is slightly 
reminiscent of “Ushak” patterns. The rectilinear motives 
sometimes fringed with latch-hooks recall the ornament of Cau¬ 
casian rugs. The narrow guard stripes of the border exhibit a 

characteristic Melas design known as the “reciprocal saw-tooth” 
pattern. 


77 TURKISH. Asia Minor. Melas. 

First Half of XIX Century. 
Colors: Field: light red ground; octagon, blue outlined in white; 
end medallions, blue, violet, and yellow; spandrels, violet. Border: 
yellow ground; pattern, repeatingthe colors of the field . Material: 
all wool. Technique : Ghiordes knot, 49 to sq. in.; two weft-threads 
inserted after each row of knots; selvage, overcast . 

Size: L. 4ft., 11 in. W. 3ft., 7 in. Acc. No. 22.100.2j. 

Characteristic of Melas patterns is the rectilinear rendering of 
the floral and leaf motives; the latch-hooks, so common in no¬ 
madic rugs, are also typical. 


78 TURKISH. Asia Minor. XIX Century. 

Colors: Field: deep red ground; panels, deep blue, with details in 
blue, red, and yellow; black and white outline. Border: light yellow 
ground; pattern, red, blue, and black. Material: all wool. 
Technique: Ghiordes knot, J4 to sq. in.; two to four weft-threads 
of white wool inserted after each row of knots; selvage, weft. 

Size: L. j ft., 7 in. W. 1 ft., 9 in. Acc. No. 22.100.14. 

Nos. 78-83 are typical of a class of rugs, usually small in size 
and knotted with long, soft wool, which are woven throughout 
Anatolia. The patterns are rather nondescript in character, 
combining familiar Turkish floral or vine motives with geometri¬ 
cal figures which recall the patterns of the Caucasian nomadic 
rugs. The border pattern of No. 78, an angular vine with 
pendent flowers, is of common occurrence in these rugs; it is a 
crude version of a pattern that appears as a secondary stripe on 
a large number of Ladik prayer rugs. 

41 


THE BALLARD COLLECTION 

79 TURKISH. Asia Minor. XIX Century. 

Colors: Field: terracotta ground; pattern, deep blue, terracotta, 
and white. Border: yellow ground; pattern, deep blue and dull 
pink. Material: all wool. Technique: Ghiordes knot, 36 to 
sq. in.; two weft-threads inserted after each row of knots; selvage, 
weft. 

Size: L. 3 ft., 3 in. W. 2 ft., i in. Acc. No. 22.100.10. 

See No. 78. 

80 TURKISH. Asia Minor. XIX Century. 

Colors: Field: bright red ground; pattern, green, white, and black. 
Border: deep blue; pattern, yellow and black. Material: all 
wool. Technique: Ghiordes knot, 99 to sq. in.; two weft-threads 
inserted after each row of knots; selvage, weft. 

Size: L. 3 ft., 3 in. TV. 1 ft., 9 in. Acc. No. 22.100.11. 

See No. 78. 

81 TURKISH. Asia Minor. XIX Century. 

Colors: Field: white ground; medallions, indigo and red; central 
motive, yellow and blue. Border: yellow ground; pattern, field 
colors repeated; outer border, green and red. Material: all wool. 
Technique: Ghiordes knot, 88 to sq. in.; two and three weft-threads 
inserted after each row of knots; selvage, weft. 

Size: L. 2ft., y in. TV. 2ft., 2 in. Acc. No. 22.100.9 . 

See No. 78. The outer border of reciprocal latch-hooks is 
common in rugs of this group. 


82 TURKISH. Asia Minor. XIX Century. 

Colors: Field: gray-green and violet ground; pattern, crimson, 
with details in indigo, violet, and light red. Border: white; pat¬ 
tern, colors of the field repeated. Material: all wool. Tech¬ 
nique: Ghiordes knot, 42 to sq. in.;four brown weft-threads inserted 
after each row of knots; selvage, two-cord weft. 

Size: L. 2ft., 8 in. JV. 2ft., 2 in. Acc. No. 22.100.13. 

See No. 78. 


42 


TURKISH RUGS 


83 TURKISH. Asia Minor. Kilim Weave. 

XVIII or Early XIX Century. 
Colors: Field: gray-green ground; bright red spandrels; pattern, 
light green, yellow, blue, and white. Border: yellowish tan; second¬ 
ary stripes, indigo; pattern, field colors repeated. Material: 
warp, wool; weft, goafs hair. Technique: kilim weave; 15 weft- 
threads to vertical inch. 

Size: L. 5ft., / in. W. 4ft. Acc. No. 22.100.58. 

The kilim technique is described in the Introduction, page 
xiii. The main border design of rosettes and lilies in this prayer 
rug is characteristic of the Ladik pattern. This kilim may have 
come from the neighborhood of Ladik. 

84 TURKISH. Asia Minor. Kilim Weave. 

XVIII or Early XIX Century. 

Colors: Field: white ground; spandrels and columns, gray-green; 
pattern, metal thread and light blue. Border: tan; secondary 
stripes, tan and deep blue; pattern, brown, blue, red, and white. 
Material: goat's hair and metal thread. Technique: kilim 
weave; 15 warp-threads to vertical inch. 

Size: L. 5ft. kV. j ft., 7 in. Acc. No. 22.100.60. 

The narrow border stripes resemble familiar Ladik patterns. 

85 TURKISH. Asia Minor. Kilim Weave. 

XVIII or Early XIX Century. 

Colors: Field: red ground; spandrels and details in metal thread, 
dull green, and deep blue. Border: yellowish tan; pattern, red and 
gray-green; secondary borders, dark tan and red. Material: 
warp, cotton; weft, cotton and metal thread. Technique: kilim; 
16 weft-threads to vertical inch. 

Size: L. 5ft., / in. W. 4ft. Acc. No. 22.100.5g. 

The angular vine in the outer border of this prayer rug re¬ 
sembles the border patterns of No. 84; both rugs probably come 
from the district around Ladik. 


43 



IV. THE CAUCASUS 

86 CAUCASIAN. XVIII Century. 

Colors: Field: deep blue ground; pattern, dull green, yellow, blue, 
brown, m/, <2?^ white. Border: dull yellow; pattern repeating 
colors of the field; guard stripes, brown and white trefoil motive. 
Material: all wool. Technique: Ghiordes knot, 72 to sq. in.; 
two undyed weft-threads inserted after each row of knots; selvage 
overcast. 

Size: L. 16ft., 5 in. IV. 7ft., 2 in. Acc. No. 22.100.121. 

The field design of this rug (see drawing) is 
an angular rendering of a Persian pattern, but 
the border recalls the star-and-panel pattern of 
Asia Minor “Bergamas” of the seventeenth 
and eighteenth centuries. Caucasian rugs with 
this field pattern usually have a border design 
of simulated Kufic letters, also derived from 
Turkish sources. The best examples of Caucasian rugs of this 
type date from the eighteenth, possibly from the seventeenth 
century; in the later examples, probably made in the early 
nineteenth century, the design is more diffuse and the drawing 
more angular. 

87 CAUCASIAN. XVIII Century. 

Color: Field: deep blue ground; pattern, two shades of yellow, 
ivory white, light blue; details in dark brown (black ?). Border: 
two shades of yellow; secondary stripe, dark brown (black ?) and 
white . Material: all wool. Technique: Ghiordes knot, 72 to 



44 










































CAUCASIAN RUGS 


sq. in.; two undyed weft-threads after each row of knots; selvage, 
two-cord weft. 

Size: L. 12ft., 6 in. IV. 2ft., 1 in. Acc. No. 22.100.120. 

This long, narrow runner shows in its field pattern the same 
tendency toward Persian models noted in No. 86. The plain 
border is edged with narrow guard bands of the reciprocal trefoil 
pattern. 


88 CAUCASIAN. XVII-XVIII Century. 

Colors: Field: indigo ground; pattern, white,yellow, tan, red, and 
blue. Border: white ground; pattern, red, blue, and indigo. 
Material: all wool. Technique: Ghiordes knot, 121 to sq. in.; 
iwo pink weft-threads inserted after each row of knots; selvage, 
three-cord weft. 

Size: L. rpft., 2 in. IV. 6ft., 5 in. Acc. No. 22.100.118. 

The narrow “leaf” forms in the shield-shaped 
compartments (see drawing) of this strikingly 
beautiful carpet recall similar motives on Arme¬ 
nian “dragon” rugs. There is also a resemblance 
in the boldness of the pattern. This rug, however, 
comes from the eastern region of the Caucasus. 
The motive alternating with the “shield ” is proba¬ 
bly intended to represent a bird. 

89 CAUCASIAN. “Soumak.” 

Late XVIII or Early XIX Century. 

Colors: Field: rose red ground; pattern, gray-green, white, yellow, 
and indigo. Border: indigo; guard stripes, white; pattern repeat- 
ing field colors. Material: all wool. Technique: Soumak 
weave, ten threads to the inch; selvage, overcast. 

Size : L. 10 ft. IV. 6 ft., 2 in. Acc. No. 22.100.21. 

This rug recalls the stylized motives of the Armenian “dragon ” 
carpets (Nos. 16, 17). The row of large central medallions shows 
an attempted reproduction of the Persian palmette, in which 
the gracefully scrolled edges have become awkwardly projecting 
latch-hooks. The irregular fields with jagged outline, occupy- 

45 




THE BALLARD COLLECTION 

ing the remainder of the field, enclose human figures and dogs, 
often found on rugs from northern Daghestan. The carpets 
known as “Soumaks” are woven by a process (see Introduction, 
page xxiv) similar to but more complicated than the kilim. The 
name is said to be derived from the town of Shemakha, but the 
chief centers of production are Derbend and Kuba. For other 
“Soumaks,” see Nos. 90 and 91. 

90 CAUCASIAN. “Soumak.” 

Late XVIII or Early XIX Century. 

Colors: Field: red ground; large medallions , indigo , red, and 
light blue; details in yellow and blue. Border: field colors repeated 
between white guard stripes; outer border, red ground; pattern , 
black outlined in yellow. Material: all wool. Technique: 
Soumak weave; 15 weft-threads to vertical inch. 

Size: L. 9 ft., 8 in. W, 7 ft., 9 in. Acc. No. 22.100.20 „ 

The four large figures, enclosing octagons, in the field pattern 
of this rug resemble somewhat the tribal devices of the Yomut 
rugs from Transcaspia, but a distinctive feature of the “Soumak” 
ornament is the cross-shaped indentation of the outline. 

91 CAUCASIAN. SiLfi. 

Late XVIII or Early XIX Century. 

Colors: Field: dull red ground; pattern , indigo and dull yellow , 
with black and green outline. Border: black and white. Ma¬ 
terial: all wool. Technique: Soumak weave; 18 weft-threads 
to the inch; selvage, overcast. 

Size: L. 9 ft., // in. IV. 7 ft.,j in. Acc. No. 22.100.1g. 

Sile carpets are a variety of pileless 
fabrics woven in the “Soumak” tech¬ 
nique, but distinguished by their patterns, 
of which this rug affords a characteristic 
example. They are usually made in two 
pieces, which are sewn together. As 
rugs of this type are thin and soft in 
texture and show loose threads at the back, they are often, but 
quite erroneously, described as “Kashmir” carpets. The curious 

46 




















CAUCASIAN RUGS 


S forms with tail-like appendages (see drawing) in the pattern of 
this rug are probably highly conventionalized dragons. 

92 CAUCASIAN. “Kabistan.” Early XIX Century. 

Colors: Field: white ground; pattern, blue, light and dark red, 
and green, outlined in red and indigo. Border: deep red; pattern 
repeating field colors. Material: all wool. Technique: Ghior- 
des knot, 126 to sq. in.; two weft-threads inserted after each row of 
knots; selvage, overcast. 

Size: L. 4ft., 4 in. IV. 2ft., 9 in. Acc. No. 22.100.5. 

Kabistan is a name given to a class of Daghestan rugs. The 
pattern of this rug is one of several types favored by the weavers 
of the region. 

93 CAUCASIAN. Kuba (“Kabistan”). Early XIX Century. 

Colors: Field: bright blue ground; medallions, blue and yellow 
edged with white, red, and green. Border: yellowish tan ground; 
pattern, blue, red, green, violet; guard stripes in red and blue. 
Material: all wool. Technique: Ghiordes knot, 104 to sq. in.; 
two weft-threads inserted after each row of knots; selvage, weft. 
Size: L. 7 ft., 8 in. IV. 4ft., 4 in. Acc. No. 22.100.4. 

Rugs of this type are assigned to the Kuba district in the east¬ 
ern Caucasus region; they are sometimes called Kabistans in 
the trade. The “pole medallions” and border pattern of S 
motives combined with diagonal leaf forms (see drawing) also 
occur in the older Shirvan carpets. 



94 CAUCASIAN. Shirvan. Early XIX Century. 

Colors: Field: black ground; pattern, white outlined with red; 
details, light red, blue, yellow, and violet. Border: green ground; 
pattern, white outlined with red; inner border, black ground; rosettes 
in field colors; guard stripes, black and blue trefoil motive. Ma¬ 
terial: all wool. Technique: Ghiordes knot, 153 to sq. in.; 

47 



















THE BALLARD COLLECTION 


two undyed weft-threads inserted after each row of knots; selvage, 
three-cord weft. 

Size: L. 4ft., 9 in. W. jft. 6 in. Acc. No. 22.100.6. 

A rug 1 closely analogous to this bears a date corresponding to 
1831. The border design (see drawing) is a survival of the 
simulated Kufic letter pattern on the borders of early Turkish 
carpets. The field design is perhaps vaguely reminiscent of the 
“arabesque” all-over patterns of the scarlet and yellow Asia 
Minor carpets, of which No. 37 is a late example; the bold, 
angular rendering recalls the striking patterns of the Kazak no¬ 
mads. 



95 CAUCASIAN. Shirvan (Baku). 1806 

Colors: Field: indigo ground; pattern, red, blue, white, and yellow. 
Border: white ground; pattern, red, yellow, and black. Material: 
all wool. Technique: Ghiordes knot, 210 to sq. in.; two weft- 
threads inserted after each row of knots; selvage overcast. 

Size: L. 4ft., 8 in. W. j ft., 2 in. Acc. No. 22.100.J. 



The “pear” or “cone” device (see drawing), characteristic of 
these Baku rugs, may be an inheritance handed down from the 
days of Shah Abbas (1557-1628) when Persian rule extended over 
this part of Caucasia. The border shows a conspicuous Persian 
influence in its scrolling vine pattern. The rug is dated 1323 
A. H., corresponding to 1806 A. D. 

1 W. Grote-Hasenbalg, Der Orientteppich, vol. II, pi. 34. Berlin, 1922. 

48 


















CAUCASIAN RUGS 

96 CAUCASIAN. Shirvan (Baku). Early XIX Century. 

Colors: Shield: indigo ground; octagon, white ground framed in 
red. Border: blue ground; pattern, tan, white, m/, and black; red 
guard stripes. Material: all wool. • Technique: Ghiordes knot, 

p /o /«.; /wo weft-threads inserted after each row of knots; cord 
selvage. 

Size: L. 6ft., / in. W . 4ft.,3 in. Acc. No. 22.100.2. 

The distinctive features of the Baku rug are its “pear” motive 
with serrated edges, central device, and corner panels. 

97 CAUCASIAN. Kazak. Early XIX Century. 

Colors: Field: white ground; pattern, red, blue, tan, violet, and 
brown. Border: light yellow ground; pattern, field colors repeated. 
Material: all wool. Technique: Ghiordes knot, 72 to sq. in.; 
four blue weft-threads inserted after each row of knots; selvage, weft. 
Size: L. 6ft., 2 in. W. 3ft., 4 in. Acc. No. 22.100.17. 



This rug with its bright, contrasting colors, small rectangular 
field, arrow-heads, and eight-pointed stars fringed with latch- 
hooks, is typical of the barbaric patterns of the nomad Kazak 
tribes. The border design is the so-called “crab” pattern (see 
drawing), in reality derived from a rosette with four leaves; 
this pattern, in one form or another, is a common one in Kazak 
rugs. 


98 CAUCASIAN. Kazak. Early XIX Century. 

Colors: Field: crimson ground; pattern, indigo, deep blue, and 
white. Border: white ground; pattern, indigo, red, violet, and blue; 
guard bands, yellow, red, and blue. Material: all wool. Tech¬ 
nique : Ghiordes knot, 36 to sq. in.; four red weft-threads inserted 
after each row of knots; selvage, two-cord weft. 

Size : L. 8ft., 7 in. IV. 3 ft., 10 in. 

49 


Acc. No. 22.100.18. 





THE BALLARD COLLECTION 

The Caucasian love of bright, strongly contrasting colors is 
well exemplified in this rug. The pattern, based on the ancient 
swastika emblem, shows all the angular rigidity of nomadic 
draftsmanship. 

99 CAUCASIAN. Kazak. Early XIX Century. 

Colors: Field: dull blue ground; pattern, white, with details in 
deep red and blue. Border: light yellow ground; pattern repeating 
field colors . Material: all wool. Technique: Ghiordes knot, 
6j to sq. in.; jour weft-threads inserted after each row of knots; 
selvage weft. 

Size: L. 6ft., io in. JV. yft., 6 in. Acc. No. 22.100.16. 

Several features distinctive of Kazak patterns may be noted 
in this rug: the purely rectilinear outline of the motives; the 
large, elongated central octagon with its rigid latch-hooks; the 
smaller squares of checkered cross pattern; and the boldly 
designed border with its stiff, serrated leaf and flower motives. 

100 CAUCASIAN. Kazak. First Half of XIX Century. 

Colors: Field: terracotta ground; central field and niche, deep 
blue; panel, white edged with green; central medallion, red. Bor¬ 
der: white ground; pattern, red, green, and yellow. Material: 
all wool. Technique: Ghiordes knot, 48 to sq. in.; three pink 
weft-threads inserted after each row of knots; selvage, two-cord 
weft. 

Size: L. 4ft., 1 in. W. j ft.,j in. Acc. No. 22.100.1y. 

The Kazak prayer arch is five-sided; the type is clearly illus¬ 
trated in this prayer rug. The animal represented in the cross¬ 
bands is presumably a scorpion. (For the central motive see 
the tail-piece, page 51.) 

101 CAUCASIAN. Lesghian (?) Early XIX Century. 

Colors: Field: deep blue ground; pattern in red,yellow, and white. 
Border: white ground; pattern, red, yellow, and tan outlined in 
deep blue. Material: all wool. Technique: Ghiordes knot, p2 
to sq. in.; two weft-threads inserted after each row of knots. 

Size: L. 9 ft., / in. W. j ft.,j in. Acc. No. 22.100.1. 

5 ° 


CAUCASIAN RUGS 


The rosette with four branching leaves in the border pattern 
(see head-band, page 44) is the original form of the so-called 
“crab” pattern, common in the Kazak and other nomadic 
rugs of the Caucasus. 

102 CAUCASIAN. First Half of XIX Century. 

Colors: Field: light red ground; pattern , yellow , white , and light 
blue, all outlined in black. Border: light yellow ground; pattern, 
field colors repeated. Material: all wool. Technique: Ghior- 
des knot, 36 to sq. in.; two weft-threads inserted after each row of 
knots; selvage overcast. 

Size: L. 10ft. y 8 in. IV. 6ft., 8 in. Acc. No. 22.100.3. 



5 1 

















V. CENTRAL ASIA 


103 CENTRAL ASIATIC. Transcaspian Region. Tekke 
Turkoman. Early XIX Century. 

Colors: Field: red ground; pattern , red, orange , blue , and white; 
rectangular panels outlined with deep blue . Material: warp , 
goat's hair; weft and pile , woo/. Technique: Sehna knot , 154 
to sq. in.; two undyed weft-threads inserted after each row of 
knots; selvage overcast. 

Size: L. 9 ft. IV. 6ft. Acc. No. 22.100.4y. 


This form of medallion pattern (see draw¬ 
ing), with deep blue lines marking off the 
field into rectangular panels, is character¬ 
istic of the Tekke Turkoman weaves. The 
nomadic tribes of Central Asia introduce in 
the patterns of their rugs distinctive tribal 
devices or “guls.” The traditional “gul” of the Tekke tribe 
is well seen in the elongated medallion of this and of the fol¬ 
lowing rug. This type of carpet is often, but incorrectly, 
called Bokhara. 



104 CENTRAL ASIATIC. Transcaspian Region. Tekke 
Turkoman. Early XIX Century. 

Colors: Field: deep red ground; medallions in rose , deep red, deep 
blue , and white outlined with indigo; fret motive in green. Border: 
colors of the field. Material: warp and weft , goafs hair; pile , 
mixture of wool and goaf s hair. Technique : Sehna knot , 108 to 
sq. in.; two undyed weft-threads inserted after each row of knots; 
selvage overcast. 

5 2 



















CENTRAL ASIATIC RUGS 

Size: L. 4ft ., // in. JV. 4ft. 6 in. Acc. No. 22.100.40. 

The central band, dividing the field into two large panels, 
indicates that this piece is an elaborate camel-bag, both sides 
being ornamented. As in No. 103, the large medallions 
show the tribal device of the Tekke Turkomans; the latch- 
hooks of the alternate motive are a variation from the usual 
device found in these rugs. The sombre coloration is charac¬ 
teristic. 

105 CENTRAL ASIATIC. Transcaspian Region. Turko¬ 

man (Tekke?). Early XIX Century. 

Colors: Field: brown ground; pattern , greenish blue , indigo , 
violet (. silk ), light red. Material: warp , go a ’s hair; weft , 
wool; pile, silk and wool. Technique : Sehna knot , 276 to sq. in.; 
one undyed weft-thread inserted after each row of knots; selvage 
overcast. 

Size: L. j ft ., io\ in. IV. 2ft ., 4 1 in. Acc. No. 22.100.jg. 

In this camel-bag the elongated medallions of Nos. 103 and 
104 are abandoned for rectilinear panels enclosing a diamond¬ 
shaped motive. The narrow border designs resemble those 
found on Tekke rugs. The “tree of life” motive in the lower 
border is supposed to symbolize the oys of Paradise. 

It should, perhaps, be noted that this bag is incomplete; it 
was presumably made with a plain, woven back-piece. As 
saddle bags are less saleable than mats in the western market, 
the plain piece is usually cut off. 

106 CENTRAL ASIATIC. Transcaspian Region. Pinde 

Turkoman. First Half of XIX Century. 

Colors: Field: dark red ground; pattern , indigo , white , and dull 
pink. Border: red and brown ground; pattern as in field. Ma¬ 
terial: warp and weft , goa ’s hair; pile , wool. Technique: 
Sehna knot , 112 to sq. in.; two weft-threads inserted after each row 
of knots; selvage overcast. 

Size: L. 6 ft ., 2 in. IV. 4ft ., 6 in. Acc. No. 22.100.42. 

The rugs of this tribe differ from those of the Tekke Turko¬ 
mans in the brownish tone of the red dye and in the field pat- 

53 


THE BALLARD COLLECTION 

tern, which is crowded with small angular ornament bordered 
with narrow bands In the central field are two 
prayer niches of characteristic angular des'gn. An¬ 
other distinguishing feature of these prayer rugs is 
the upper cross-panel framing a row of mihrabs 
which sometimes number as many as nine, and 
the lower cross-panel ornamented with repetitions 
of the “tree of life” motive (see drawing). Rugs 
of this type, where the field is divided by a broad 
horizontal band crossing a vertical one, are some¬ 
times called “khachli,” the Greek word for “cross,” 
with the Turkish suffix “li” added, signifying 
“crossed.” 

107 CENTRAL ASIATIC. Transcaspian Region. Saryk 

Turkoman. Early XIX Century. 

Colors: Field: purplish brown ground; pattern, undyed wool, 
dull pink, and field color, outlined in indigo. Border: same. 
Material: warp and weft, goaf s hair; pile, wool and goaf s hair 
mixed. Technique: Sehna knot, y2 to sq. in.; two undyed weft- 
threads inserted after each row of knots; four-cord weft selvage. 
Size: L. 8ft., / in. W. pft., 9 in. Acc. No. 22.100.p6. 

The clearly defined octagon enclos¬ 
ing a central star device and so-called 
“dog” motives (see drawing) is the tra¬ 
ditional device or “gul” of the Saryk 
tribe. The angular border pattern occurs 
on both Saryk and Yomut rugs (see head-band, page 52). 

108 CENTRAL ASIATIC. Transcaspian Region. Yomut 

Turkoman. Early XIX Century. 

Colors: Field: light red ground; pattern, bright blue, indigo, 
bright red, and white, with outline of indigo. Border: white, re¬ 
peating field colors in pattern. Material: warp and weft, goaf s 
hair; pile, wool and goafs hair, mixed. Technique: Ghiordes 
knot, 91 to sq. in.; two undyed weft-threads inserted after each row 
of knots; selvage overcast. 

Size : L. 10 ft., 7 in. JV. 5 ft., 5 in. 

54 




Acc. No. 22.100.py. 























CENTRAL ASIATIC RUGS 


The Yomut “gul” takes a variety of forms, ordinarily of 

diamond shape but with a com¬ 
plicated contour which is char¬ 
acteristic. The field device (see 
drawing) in this rug is a typical 
Yomut “gul”; the border design 
is also a familiar Yomut pattern. 
A distinctive feature of the rugs of this tribe is found in the 
broad end panels sometimes patterned with the so-called 
“anchor-shaped flower”; with the “spread eagle,” which is 
perhaps a conventionalization of the double-headed Russian 
eagle; or with a set arrangement of angular “trees,” as in this 
instance. 

109 CENTRAL ASIATIC. Transcaspian Region. Yomut 
Turkoman. Early XIX Century. 

Colors: Field: deep red ground; pattern, deep blue, white, and 
bright red; outlines of motives , red. Border: white-brown; pattern, 
repeatingfieldcolors. Material: warp and weft , goaf s hair;pile, 
wool and goafs hair, mixed. Technique: Ghiordes knot , p/ to 
sq. in.; two undyed weft-threads inserted after each row of knots; 
selvage overcast. 

Size: L. 7//., 10 in. TV. 4ft., 7 in. Acc. No. 22.100.44. 

The diversity of ornament typical of Yomut rugs is exempli¬ 
fied in the large motives composing the field pattern of this rug. 
Foreign influence may be seen in the angular palmettes, but 
traditional devices of the tribe are also introduced. The border 
design is a variation of the pattern on No. 108. 

no CENTRAL ASIATIC. Transcaspian Region. Saryk or 
Yomut Turkoman. First Half of the XIX Century. 

Colors : Field: white ground; pattern, deep blue and red. Border: 
red ground; pattern, deep blue and white. Material: warp and 
weft, goaf s hair. Technique: Sehna knot, 143 to sq. in.; one 
and two threads of undyed weft inserted after each row of knots. 
Size: L. 4ft., 3 in. W. 4ft., 3 in. ■, Acc. No. 22.100.33. 

Tent bands such as this, edged with heavy fringe and tassels, 
are woven by the Turkoman women to ornament the tent en- 

55 




THE BALLARD COLLECTION 

trance. This “surround” might be of either Saryk or Yomut 
origin, as the pattern shows no distinctive tribal motive. 

hi CENTRAL ASIATIC. Transcaspian Region. Turko¬ 
man. First Half of the XIX Century. 

Colors: Field: undyed wool ground; pattern , two shades of madder 
and dark green with details in white , yellow , and black. Ma¬ 
terials: warp , weft, and pile , wool. Technique: Ghiordes 
knot , 180 to sq. in.; one weft-thread inserted after each row of 
knots; selvage overcast; web ends with fringe. 

Size: L. poft.^j in. JV. ift ., 2 in. Acc. No. 22.100.j8. 

Bands of this kind are used by the Turkomans as a deco¬ 
ration around the walls of their tents. The designs (see tail¬ 
piece, page 58) are composed of angular “tree” motives, 
“arrow-heads,” and the geometric devices familiar in Turkoman 
weaves. 

112 CENTRAL ASIATIC. Transcaspian Region. Turko¬ 

man. First Half of XIX Century. 

Colors: Field: rose red ground; pattern , deep red , white , and 
indigo. Material: warp and weft , goat's hair;pile, wool. Tech¬ 
nique: Sehna knot , 560 to sq. in.; two weft-threads between knots. 
Size: L. j ft ., 10 in. JV. 2 ft ., 8 in. Acc. No. 22.100.pj. 

Tent bags of this type serve as receptacles for the household 
effects and merchandise when tribes are on “trek.” When in 
camp they are hung around the walls inside of the tent. They 
are made for service and are of much firmer texture than many 
of the rug weaves. The back-piece has been removed; see note 
under No. 105. 

113 CENTRAL ASIATIC. Bokhara (Beshir). XIX Century. 

Colors: Field: deep crimson ground; pattern , deep blue , yellow , 
and red. Border: deep blue and brown; pattern in field colors. 
Material: warp and weft , goat's hair; pile , wool. Technique : 
Sehna knot , iop to sq. in.; two weft-threads inserted after each row 
of knots; weft selvage. 

Size : L. 8 ft ., 9 in. IV. j /A, i\ in. 

56 


Acc. No. 22.100.j0. 


CENTRAL ASIATIC RUGS 

Beshir rugs, woven by a group of Ersari Turkomans near the 
border of Afghanistan, reflect in the hybrid character of their 
patterns the loss of tribal traditions. The pattern of this rug, 
with the “pear” or “cone” device set in vertical rows, shows 
Persian or Indian influence. 

114 CENTRAL ASIATIC. Beluchistan. XIX Century. 

Colors: Field: deep red ground; pattern , bright blue , red, indigo , 
and yellow. Border: indigo , repeating field colors. Material: 
warp and weft , goaf s hair; pile , wool. Technique : Sehna knot , 
up to sq. in.; two weft-threads inserted after each row of knots; 
weft selvage , three cords. 

Size: L. 5//., 8 in. IV. 3 ft. / in. Acc. No. 22.100.pi. 

The rugs woven by the nomad inhabitants of desolate Belu¬ 
chistan show a diversity of pattern ranging from rather crudely 
drawn geometric figures to unpretentious adaptations of Persian 
floral designs—as in this tent bag. The use of yellow or ivory 
white to relieve the subdued tonality of deep, rich colors is 
characteristic. Beluchistan rugs are noted for the lustrous 
sheen of their pile, due to the soft, fine wool used for the knot¬ 
ting. 

115 CENTRAL ASIATIC. Beluchistan. XIX Century. 

Colors: Field: light tan ground; central medallion and detached 
motives in deep blue, red, orange , and black. Border: red ground 
with pattern repeating field colors. Material: warp , wool; weft , 
brown goafs hair; pile , wool and earneds hair. Technique: 
Sehna knot , 95 to sq. in.; two weft-threads inserted after each row 
of knots; weft selvage , double cord. 

Size: L. 3 ft ., 5 in. IV. / ft ., 5 in. Acc. No. 22.100.12. 

Both in color and in design, this is a typical Beluchistan. 
Foreign influence is less conspicuous in the design than in 
No. 114. 

116 CENTRAL ASIATIC. East Turkestan. Kashgar. 

Late XVIII or Early XIX Century. 

Colors: Field: deep , bright blue ground; pattern , light red , mul¬ 
berry, and blue-green. Border; red ground , striped with light blue , 

57 


THE BALLARD COLLECTION 

yellow, and black, with ornament in field colors. Material: 
warp and weft, cotton; pile, ff/E Technique: Sehna knot, po, 
/o /».; /wo weft-threads inserted after each row of knots. 

Size: L. ij ft., // in. JV. 6ft., io in. Acc. No. 22.100.28. 

A common name for rugs of this type is “Samarkand.” The 
angular character of the field design of pomegranate and vases 
is typical of the rugs woven in eastern Turkestan; compare with 
No. 117. 

117 CENTRAL ASIATIC. East Turkestan. Khotan (?). 

XVIII Century. 

Color: Field: silver ground; pattern, red, yellow, and deep blue, 
with green stems outlined in black or dark brown. Border: field 
colors repeated. Material: warp and weft, silk; pile, silk, 
enriched with gold and silver. Technique: Sehna knot, 81 to sq . 
in.; three weft-threads inserted after each row of knots. 

Size: L.qft. W. 5ft., 10 in. Acc. No. 22.100.49. 

Only a very few of these sumptuous carpets are known. 
They are supposed to have been made in Khotan, in eastern 
Turkestan, not earlier than the eighteenth or possibly the 
seventeenth century. There, is a tradition in China that 
these rugs were made for the Imperial Palace in Pekin. The 
pattern has a pronounced Persian or Indian character, but the 
rendering is stiff and angular. A bluish tint predominates in 
the colors and contrasts effectively with the gold and silver of 
the ground. A carpet of this type was acquired in 1919 for the 
National Museum at Stockholm (published in the Burlington 
Magazine, vol. XXXV, 1919, p. 61). 



58 




VI. CHINA 


11 8 CHINESE. XVIII Century. 

Colors: Field: cream color with pattern in two shades of yellow 
and blue. Border: cream color; pattern, deep orange on indigo. 
Material: warp and weft, cotton. Technique: Sehna knot, 49 
to sq. in.; two weft-threads inserted after each row of knots. 

Size: L. 6 ft., // in. W. 4ft., 3 in. Acc. No. 22.100.35. 


The pleasing coloration and the graceful 
drawing of the devices in the field pattern 
of this rug are characteristic of the best 
Chinese work of the eighteenth century. 
The style is that of the Chien-Lung period 
(1736-1795). The field devices (see drawing) 
are mainly Taoist symbols, viz.: the eight 
attributes of the immortal genii (fan, sword, 
pilgrim’s gourd, basket of flowers, bamboo 
tube and rods, flute, and lotus flower) and emblems of 
longevity, such as the peach. 



119 CHINESE. XVIII Century. 

Colors: Field: yellow ground; pattern, three shades of tan, two 
shades of blue, orange, and white. Border: field colors repeated. 
Material: warp and weft, cotton; pile, wool. Technique: 
Sehna knot, 4(4 to sq. in.; two weft-threads inserted after each row 
of knots. 

Size: L. 8ft., 1 in. kV. 5ft., 1 in. 

59 


Acc. No. 22.10036. 










THE BALLARD COLLECTION 


This rug is a work of the same period as the preceding. It is 
characterized by delicacy of design and harmonious color. 
The field ornament is more definitely composed than in No. 
118, but monotony is avoided by the skilful balancing of varied 
motives (see tail-piece, page 62). 

120 CHINESE. XVIII Century. 

Colors: Field: light tan; central medallions and corner ornaments 
in two shades of blue. Border: field colors repeated in lighter 
shades. Material: warp, cotton; weft, wool. Technique: 
Sehna knot, 49 to sq. in.; two weft-threads inserted after each row 
of knots. 

Size: L. 2ft., 6 in. W. 2ft., 8 in. Acc. No. 22.100.29 . 

A central medallion with corner devices of similar character 
is a favorite scheme in the ornament of Chinese rugs. The 
medallion designs range from geometrical patterns to elaborate 
flower and leaf arrangements, as in this mat, woven for a chair 
seat. The border design is typical (see head-band, page 59). 


121 CHINESE. Late XVIII-XIX Century. 

Colors: Field: yellowish tan ground; pattern, yellowish tan and 
two shades of blue. Border: the same. Material : warp and weft, 
cotton; pile, wool. Technique: Sehna knot, 72 to sq. in.; two 
weft-threads inserted between knots. 

Size: L. j ft., 5 in. kV. 1 ft., // in. Acc. No. 22.100.j1. 


122 CHINESE. Late XVIII-XIX Century. 

Colors: Field: deep blue ground; pattern in two shades of tan and 
light blue. Border: yellow, with pattern in blue. Material: 
warp, cotton; weft, wool. Technique: Sehna knot, 49 to sq. in.; 
two warp-threads inserted after each row of knots. 

Size: L. 4ft., 5 in. W. 2ft. j in. Acc. No. 22.100.j0. 

Mountains rising from waves, peonies and other flowers, 
fluttering butterflies—these are familiar motives in Chinese 
decorative design. The pattern of this saddle cover is more 
crowded and the drawing less refined than in the rugs of the 

60 


CHINESE RUGS 


Chien-Lung period; consequently it is more probably a work of 
the early nineteenth than of the eighteenth century. 

123 CHINESE. XIX Century. 

Colors: Field: deep blue ground; central medallion , light blue , 
dull pink, and white. Border: field colors repeated. Material: 
warp and weft, cotton; pile , wool. Technique: Sehna knot , 42 
to sq. in.; two weft-threads inserted after each row of knots. 

Size: L. y ft ., 8 in. W. 5//., 8 in. Acc. No. 22.100.48. 

In the nineteenth century, earlier patterns were continued 
with slight modifications; the ornament, however, is usually 
larger in scale and coarser in drawing. In the medallion, a 
lion cub and a young dragon are represented. The border is 
a simple form of wave stripe. 

124 CHINESE. XIX Century. 

Colors: Field: yellowish tan ground; pattern , lighter tan and two 
shades of blue. Borders: field colors repeated. Material: 
warp and weft , cotton; pile , wool. Technique: Sehna knot . 
49 to sq. in.; two weft-threads inserted after each row of knots. 
Size: L. 5//., / in. W. 2ft ., 5 in. Acc. No. 22.j00.j4. 

The “knot of destiny” is a conspicuous feature in the border 

design of this rug. 

125 CHINESE. XIX Century. 

Colors: Field: dark tan ground; pattern , yellow , white , and two 
shades of blue. Border: white , with pattern in yellow , tan, and 
blue. Material: warp and weft , cotton;pile, wool. Technique : 
Sehna knot , 64 to sq. in.; two weft-threads inserted after each 
row of knots. 

Size: L. j ft ., // in. W. 2ft ., /». Acc. No. 22.100.j2. 

126 CHINESE. XIX Century. 

Colors: Field: white ground; cloud and floral motives in two 
shades of blue. Border: white , with key pattern in blue. Ma¬ 
terial: warp and weft , cotton; pile , wool. Technique: Sehna 

61 


THE BALLARD COLLECTION 


knot, to sq. in.; two weft-threads inserted after each row of 

knots. 

Size: L. 4ft., 3 in. JV. 2 ft., 3 in. Acc. No. 22.100.33. 

Frequent mention has been made in the Persian and Turkish 
sections of the “Chinese cloud” motive which the designers 
borrowed from the Far East; here it may be seen in character¬ 
istic Chinese form. 



62 



VII. SPAIN 


127 SPANISH. Late XV Century. 

Colors: Field: bright red ground; pattern, bright green, bright 
blue, yellow, indigo, <2/77/ white. Border: inner band, originally 
black and white; center band, red, green, <2777/ black \ outer band , 
bright blue, ra/, <2777/ /'/tzcL Material: WTzrp <2777/ 

linen; pile, woo/. Technique: Spanish knot; three linen weft- 
threads inserted after each row of knots; selvage, Wd//. 

Size: L. 9ft. kV. pft., 7 in. Acc. No. 22.100.124. 

The field pattern of this exceptionally rare carpet resembles 
contemporaneous Spanish textile designs (see tail-piece, page 
64). More distinctly oriental in character is the border, which 
recalls the patterns on early Asia Minor rugs. As parallels for 
the border designs and for the quaint bird in the field ornament 
are found in early Spanish geometrical, “heraldic/’ and other 
early Spanish carpets (see Introduction, page xxvi), this unusual 
rug may be assigned to the late fifteenth century. 

128 SPANISH. XVI Century. 

Colors: Field: red ground; pattern, green outlined with yellow. 
Material: warp and weft, linen; pile, wool. Technique: 
Ghiordes knot, no to sq. in.; four red weft-threads inserted after 
each row of knots; selvage, weft. 

Size: L. 17ft., 9 in. IV. 7ft., 10 in. Acc. No. 22.100.12y. 

Renaissance and oriental elements are combined in the orna¬ 
ment of this large carpet, which is thoroughly characteristic 

63 




THE BALLARD COLLECTION 


in color, as in design, of the finest Spanish rugs of the sixteenth 
century. In this period the influence of the Renaissance style, 
which had originated in Italy in the fifteenth century, domi¬ 
nated Spain. Traces, however, remain of the oriental tradition 
in the “arabesque” character of the lesser ornament and con¬ 
ventionalized flower and leaf motives of the field pattern, but 
the large wreaths and the winged dragons (see head-band, page 
63) are typical Renaissance motives. 

129 SPANISH. XVII Century. 

Colors: Field: yellow ground; pattern , white and two shades of 
blue. Material: warp and weft , linen;pile , wool. Technique : 
Ghiordes knot , 56 to sq. in.; three yellow weft-threads inserted after 
each row of knots; selvage , weft. 

Size: L. // ft. kV. 5 ft., 7 in. Acc. No. 22.100.126. 

A familiar type of Asia Minor carpet of the sixteenth and 
seventeenth centuries (see No. 37) is imitated in the field pat¬ 
tern of this rug. The border design, however, is European in 
style; compare the scrolling leaves with the dragons in No. 128. 
Rugs of this kind were made presumably as cheaper substitutes 
for the imported Turkish carpets so highly prized throughout 
Europe in the seventeenth century. 



64 




INDEX 






INDEX 

ROMAN NUMERALS REFER TO PREFACE AND INTRODUCTION PAGES 
ARABIC NUMERALS TO CATALOGUE ENTRIES 


A 

Abbas, Shah, 95 
Abu Bakr, 34 
Afghanistan, xxv, 6, 113 
Akbar, xviii 

Ala-ed-Din, Mosque of, xviii 

Ali, 34 
Allah, 33, 34 

Altman Collection, xiii, xvii, 1 
Anatolian carpets, xxii, xxiii, 78-83 
“Animal” carpets, xv, xvi, xviii, 5 
Arabesque, 1, 5 et passim 
Ardabil carpet, xiv 
Armenian carpets, vi, xxii, 3, 16, 17 
Asia, Central, carpets of, vi, xxiv- 
xxvi, 103-117 

Asia Minor, carpets of, vi, xviii, 
18-85, 94, 127, 129 

B 

Badge of Timur, 21, 33 
Baku, xxiv, 95, 96 
Beluchistan, xxv, 114, 115 
Bergama, vi, xix, 44-49, 86 
Beshir, 113 

“Bird” rug, xix, 34, 35 
Bokhara, xxv, 103, 113 


C 

Camel bag, 104, 105 
Caucasian carpets, vi, xxiii, xxiv, 76 } 
86-102 

“Cemetery” carpet, 71, 72 
Central Asiatic carpets, vi, xxiv- 
xxvi, 103-117 
Chair mat, 120 

Chinese carpets, vi, xxvi, 118-126 
Chinese cloud-band, xv, 5, 32 et 
passim 

Chosroes, xiv, xvii 
Circassian (see Tcherkess) 

Clouds and disks, xix, 22, 33 
Cone or pear, 95 et passim 
Cossack (see Kazak) 

Crab pattern, 97, 101 

D 

Daghestan, xxiv, 89, 92 
Damascus, vi, xx, 18, 34 
Dated carpets, xiv, 42, 94, 95 
Derbend, xxiv, 89 
Dragon and phoenix, xv, xviii 
“Dragon” carpet, vi, xxii, 3, 16, 17, 
88, 89 


67 











INDEX 


E 

Egypt, xxii 
English carpet, 36 
Ersari, 113 

Ewer, xx, 52 et passim 

F 

Feraghan, 13 

Fire worshiper’s rug, 14 

Fungus (see tschi) 

G 

“Garden” carpet, vi, xiv, xvi, xvii, 
4 

Gengha, xxiv 

Ghiordes, vi, xviii, xx, 24, 51-67 
Ghiordes knot, xiv 
Gul, 103, 104, 107, 108 

H 

“Heraldic” carpet, xxvi, 127 
Herat, xvii, 5, 6, 11, 23 
Herati pattern, 13 
“Holbein” rug, xix, 36 
“Hunting” carpet, xv, xvi, xviii, 5 

I 

Indian carpets, vi, xvii, xviii, 10, 15 
Inscriptions, 33, 34, 57, 58 
Ispahan, xvii 

K 

Kabistan, xxiv, 92, 93 
Kaiser Friedrich Museum, xviii 
Kalifs, first four, 34 
Karabagh, xxiv 
Kashgar, 116 
Kashmir, 91 


Kazak, xxiv, 94, 97-100 
Kerman, vi, xvi, 8, 11, 12 
Khachli, 106 
Khotan, 117 

Kilim, xiii, xxiii, 83, 84, 85 
Kir-Shehr, 43 
Knot, Ghiordes, xiv 
Knot of destiny, 124 
Knot, Sehna, xiv 
Knot, Spanish, xiii 
Konia, xviii, 49, 50, 75 
Koran, verses from, 33, 34 
Kuba, xxiv, 89, 93 
Kufic lettering, simulated, xix, xxvii, 
37, 86, 94 

Kula, vi, xx, 51, 65-71 

L 

Ladik, vi, xx, 39-43, 74, 78, 83-85 
Lamm Collection, 4 
“Landscape” carpet, xvi 
Laodicea (see Ladik) 

Latch-hooks, xxiii, 2, 97 et passim 
Lesghian, xxiv, 101 
Lily, Ladik, xx, 39 et passim 
Longevity, emblems of, 118 

M 

Medallion or star carpets, Persian, 
xv, 1-3 

Medallion or star carpets, Turkish, 
xix, 25-27 
Melas, 75-77 

Metal thread in carpets, xiv, 84, 85, 
ll l 

Mihrab, xx 

Mohammed, 34 

Morgan Collection, xvii, xxvi 


68 


INDEX 


Mosque lamp, xx, 34, 45 et passim 
Mujur, 43, 74 

N 

Nadir Shah, 6 

Nomad carpets, xxiv, xxv, 78, 97- 
101, 103-115 

O 

Omar, 34 
Osman, 34 

P 

Palmette, 1, 6, 8 et passim 
Pattern, crab, 97, 101 
Pattern, “Shah Abbas/’ 6, 7 
Patterns, floral (principal refer¬ 
ences), xvi, xvii, xxi 
Patterns, geometrical (principal ref¬ 
erences), xviii, xix, xxiii, xxv 
Patterns, tribal, xxvi, 103-115 
Pergamon (see Bergama) 

Persian carpets, vi, xiv-xvii, 1-14 
Pillar carpets, xxvi 
Pinde, 106 

“Polish” carpets, xvii 
Pomegranate, 55, 59, 116 et passim 
Prayer rugs, xx, xxii, 11, 24, 28, 29, 

3 I_ 34. 39-47. 5 2_ 54> 57“75> 8 3~ 

85, 95, 100, 106 

R 

“Rhodian” faience, floral designs 
on, xviii, 19, 50, 73 

S 

Saadi, 58 

Saddle cover, 12, 13, 122 
Salor, xxv 


Samarkand, 116 

Saryk, xxv, 107, no 

Sehna knot, xiv 

Shah Abbas, 95 

“Shah Abbas” pattern, 6, 7 

Shah Tahmasp, xv 

Shirvan, xxiv, 93, 94, 95, 96 

Shusha, xxiv 

Siebenbiirgen, xix 

Sile, 91 

Smyrna, xxiii 

Soumak, xiii, xxiii, xxiv, 89-91 
Spanish carpets, vi, xxvi, xxvii, 127- 
129 

Spanish knot, xiii 

Star or medallion carpets, Persian, 
xv, 1-3 

Star or medallion carpets, Turkish, 
xix, 25-27 
Swastika, 15, 98 

T 

Tabriz, xv 
Taoist symbols, 118 
Tapestry weaving, xiii 
Tcherkess, xxiv 

Technique of carpet weaving, xiii, 
xiv 

Tekke, xxv, xxvi, 103-106 

Tent bag, 112, 114 

Tent band, no, in 

Tiger stripe, 22 

Timur, badge of, 21, 33 

Tomb and tree, 71 

Transcaspia, xxv, xxvi, 103-112 

Transylvania, xix 

“Tree” carpet, xvi 

Tree of Life, xxv, 105, 106 


INDEX 


Tschi, 2 

Turkestan, east, xxv, 116, 117 
Turkestan, southwest, xxv 
Turkish carpets, vi, xviii-xxiii, 16- 

T 

Turkish court manufactory, vi, xxii, 
18-24, 34 

Turkoman carpets, xxiv-xxvi, 103- 

IJ 5 

U 

Ushak, vi, xix, xxiii, 1, 25-32, 37, 

5 r > 76 


Y 

Vandykes, xx, 39 et passim 
“Vase’’ carpet, vi, xvi, 8, 9, 38 
Victoria and Albert Museum, 36 

W 

Williams Memorial Collection, Jo¬ 
seph Lees, vi, xvi, xxvi 

Y 

Yomut, xxvi, 90, 107-110 

Z 

Zoroaster, 14 



70 





ILLUSTRATIONS 














I. PERSIAN. LATE XV CENTURY. DETAIL 





























2. PERSIAN. ABOUT 1 5 OO 












3* PERSIAN OR ARMENIAN. LATE XVI OR 
XVII CENTURY. DETAIL 




























4. PERSIAN. FIRST HALF OF XVIII CENTURY 


















































PERSIAN. XVI CENTURY 












6 . PERSIAN. LATE XVII OR EARLY XVIII CENTURY. DETAII 















J. PERSIAN. XVII CENTURY 
























8 . PERSIAN. XVI CENTURY. DETAIL 

















































9 . PERSIAN. LATE XVII OR EARLY XVIII CENTURY 

































IO. PERSIAN. LATE XVI CENTURY 





































































II. PERSIAN. XVII CENTURY 













































"Ui •T'-'-'f*.. 



; f,/Lj . 





12 


PERSIAN. XIX CENTURY 







































13- PERSIAN. XIX CENTURY 











I 4 . PERSIAN 


XIX CENTURY 










































l S 


INDIAN. XVII CENTURY 



























































l6. ARMENIAN. EARLY XVII CENTURY 


DETAIL 





























J 7 


ARMENIAN 


XVII CENTURY 


DETAIL 

















1 8 A, TURKISH. 

JL 


EARLY XVI CENTURY 












I9. TURKISH. XVI CENTURY. DETAII 





















^XXXXjULXJt. 


xxxxjtjuiLixjuuuiJt.xji-i.Xi; 

:-rz-ju:,'-— ySfrvji' _ 


20. TURKISH. XVI CENTURY. DETAIL 






































5 


21. TURKISH. LATE XVI OR EARLY XVII CENTURY. DETAII 




































22. TURKISH. FIRST HALF OF XVII CENTURY. DETAIL 













aparans 



2^. TURKISH. FIRST HALF OF XVII CENTURY. DETAII 




















r 



CI 4 . TURKISH. FIRST HALF OF XVIT CENTURY 


















f 



25 . TURKISH. USHAK. XVI CENTURY 
































26 . TURKISH. USHAK. LATE XVI—EARLY XVII CENTURY 



























































28. TURKISH. USHAK. LATE XVI—EARLY XVII CENTURY 





























2g. TURKISH. USHAK. LATE XVI—EARLY XVII CENTURY 















































































# 



31. TURKISH. USHAK 


SECOND HALF OF XVI CENTURY 



































^2. TURKISH. USHAK. SECOND HALF OF XVI CENTURY 




















































33- TURKISH. LATE XVI CENTURY 




































































34- TURKISH. LATE XVI—EARLY XVII CENTURY 































































35- TURKISH. LATE XVI-XVII CENTURY. DETAIL 
























36 . TURKISH. LATE XVI—EARLY XVII CENTURY 












37• TURKISH. XVII CENTURY 









38 . TURKISH. FIRST HALF OF XVII CENTURY. DETAIL 













































39- TURKISH. LADIK. XVII-XVIII CENTURY 






































4 O. TURKISH. LADIK. XVII—XVIII CENTURY 


















































































4 I. TURKISH. LADIK. XVII-XVIII CENTURY 





























































42 . TURKISH. LADIK. 1794 


















































43- TURKISH. LADIK 


XVIII CENTURY 



























































































44. TURKISH 


BERGAMA. EARLY XVII CENTURY 


•K^t <-.r« <iC.- <**■*+>* t -V-ix-trt >' C < ' 






















oos>ooao<»s«o^ooo<K><>ix^ 





45. TURKISH. BERGAMA. EARLY XVII CENTURY 

















































































46. TURKISH. BERGAMA. XVII CENTURY 

























































47 - TURKISH. BERGAMA. XVII-XVIII CENTURY 



















48. TURKISH. BERGAMA. XVIII CENTURY 








































49- TURKISH. BERGAMA (?). KONIA (?). XVIII CENTURY 















50. TURKISH. KONIA. XVIII CENTURY. DETAIL 







































<;i. TURKISH. XVII CENTURY 








































;«4f Sl‘J 


52 . TURKISH. GHIORDES. XVII CENTURY 





































































































53- TURKISH. GHIORDES. XVII-XVIII CENTURY 























































































54- TURKISH. GHIORDES. XVII-XVIII CENTURY 











































































55- TURKISH. GHIORDES. XVII-XVIIJ CENTURY. DETAIL 





































































56 . TURKISH. GHIORDES. XVII-XVIII CENTURY. DETAIL 























57 . TURKISH. GHIORDES. XVII-XVIII CENTURY 


‘ ' : 






























58 . TURKISH. GHIORDES. XVII-XVIII CENTURY 
















































































^9- TURKISH. GHIORDES. XVIII CENTURY 













































Go. TURKISH. GHIORDES. XVITI CENTURY 
















































































6 1. TURKISH. GHIORDES. XVIII CENTURA 












































62 . TURKISH. GHIORDES. XVIII CENTURY 









































































1 



63. TURKISH. GHIORDES. XVIII CENTURY 






















































































64. TURKISH. GHIORDES. XVIII CENTURY 
























65. TURKISH. GHIORDES OR KULA. XVIII CENTURY 

































































































































66. TURKISH. 


GHIORDES OR KULA. 


XVIII CENTURY 






















































Miml' 


! ,*«l 




KJtjt 


K*»SW 




^vg wagws 




i 




67. TURKISH. KULA OR GHIORDES. XVIII CENTURY 
















































































68. TURKISH. PROBABLY KULA. XVIII CENTURY 






















































6g. TURKISH. KULA. XVIII CENTURY 




























































70. TURKISH. KULA. XVIII CENTURY 












































































































71. TURKISH. KULA 


XVIII CENTURY 
























































































72 . TURKISH. MIDDLE OF XIX CENTURY 














































































73- TURKISH. XVII-XVIII CENTURY 


















* 




























































75* TURKISH. MELAS. EARLY XIX CENTURY 


























































76 . TURKISH. MELAS. EARLY XIX CENTURY 








































77- TURKISH. MELAS. FIRST HALF OF XIX CENTURY 
























































78. TURKISH. XIX CENTURY 


























79- TURKISH. XIX CENTURY 










8o 


TURKISH 


XIX CENTURY 
















8 l. TURKISH. XIX CENTURY 












82 . TURKISH. XIX CENTURY 






83 . TURKISH. KILIM. XVIII OR EARLY XIX CENTURY 
































84. TURKISH. KILIM. XVIIL OR EARLY XIX CENTURY 
































85 . TURKISH. KILIM. XVIII OR EARLY XIX CENTURY 




















86 . CAUCASIAN. XVIII CENTURY. DETAIL 



























87 . CAUCASIAN. XVIII CENTURY. DETAIL 
























88 . CAUCASIAN. XVII-XVIII CENTURY. DETAIL 









































































































89. CAUCASIAN. SOUMAK. LATE XVIII OR EARLY XIX CENTURY 


















































W T >V M 


Itt Vi rW \w -W V»~' •»» ; ;m. a». 


*#«#*$ »»,. j»x, ■.*,%.•• A 


v*y>- r *>: : :*>«• i >x .■-*a 


W ' W : X»>lML*A -AA aMA<; 






90. CAUCASIAN. SOUMAK. LATE XVIII OR EARLY XIX CENTURY 

DETAIL 































































91. CAUCASIAN. SILE. LATE XVIII OR EARLY XIX CENTURY. DETAIL 











































































93 - CAUCASIAN. KUBA (“KABISTAN’’). EARLY XIX CENTURY 






























94- CAUCASIAN. SHIRVAN. EARLY XIX CENTURY 


































95- CAUCASIAN. SHIRVAN (BAKU). 1806 

























































































96. CAUCASIAN. SHIRVAN (BAKU). EARLY XIX CENTURY 












































































»•»_««•« Mr«»i 



97. CAUCASIAN. KAZAK. EARLY XIX CENTURY 













































98. CAUCASIAN. KAZAK. EARLY XIX CENTURY 






































fUMMW 




#** 


w** 

wn# 


■r**n 

¥#*#! 


iTirtitw 


-jmmmmu 


99. CAUCASIAN. KAZAK. EARLY XIX CENTURY 


JUt* 


* 




























IOO. CAUCASIAN. KAZAK. 


FIRST HALF OF XIX CENTURY 























































IOI. CAUCASIAN. LESGHIAN. EARLY XIX CENTURY. DETAIL 







































































102 . CAUCASIAN. FIRST HALF OF XIX CENTURY 





































































IO3. TEKKE TURKOMAN. EARLY XIX CENTURY. DETAIL 
















































































IO4. TEKKE TURKOMAN. EARLY XIX CENTURY. DETAIL 









IO^ . TURKOMAN (tEKKE 



EARLY XIX CENTURY 
















Io6. PINDE TURKOMAN. FIRST HALF OF XIX CENTURY 











































IO7. SARYK TURKOMAN. EARLY XIX CENTURY 










I 08 . YOMUT TURKOMAN. EARLY XIX CENTURY. DETAIL 























IO9. YOMUT TURKOMAN. EARLY XIX CENTURY. DETAIL 



















IIO. SARYIC OR YOMUT TURKOMAN. FIRST HALF OF XIX CENTURY 





aai 


. uk uuu*» uiUUlutmUHU uu 

'*^~r^Jk\iUU,MuuuHamuu 


III. TRANSCASPIA. TURKOMAN. FIRST HALF 
OF XIX CENTURY. DETAIL 

























I 12. TRANSCASPIA. TURKOMAN. FIRST HALF OF XIX CENTURY 

DETAIL 


































I 13 . BOKHARA (BESHIR). XIX CENTURY. DETAIL 













































114. 


BE LU CHI STAN 


XIX CENTURY 








































II6. KASHGAR. LATE XVIII OR EARLY XIX CENTURY. DETAIL 








































llj. KHOTAN (?). XVIII CENTURY. DETAIL 










































I I 8. CHINESE. XVIII CENTURY 



























I 19. CHINESE. XVIII CENTURY. DETAII 


























121. CHINESE. LATE XVIII-XIX CENTURY 

















122. CHINESE. LATE XVIII-XIX CENTURY 








123- CHINESE. XIX CENTURY 






I 24 . CHINESE. XIX CENTURY 






















12 $. CHINESE. XIX CENTURY 







126 . CHINESE. XIX CENTURY 













I 27 . SPANISH. LATE XV CENTURY 














128 


SPANISH 


XVI CENTURY 


DETAIL 
























129. SPANISH. XVII CENTURY. DETAIL 




























OF THIS CATALOGUE 

TWO THOUSAND COPIES HAVE BEEN PRINTED 
IN THE UNITED STATES OF AMERICA 
OCTOBER, I923 








THE BALLARD 
COLLECTION 

OF 

ORIENTAL 

RUGS 















































































■r') 





t 



1 




b 


% 




/ 


< 














































